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THE MAGIC SEA SHELL 

And Other Plays 


JOHN FARRAR 



By JOHN FARRAR 


Poetry 


FORGOTTEN SHRINES 


SONGS FOR PARENTS 


Editor of 

THE BOOKMAN ANTHOLOGY 
OF VERSE [ 1922 ] 

THE BOOKMAN ANTHOLOGY 
OF ESSAYS [ 1923 ] 

THE LITERARY SPOTLIGHT 



XT e Magic 

Sea Shell 

and other plays 
for children 

h j 

John Farrar 


\\ 

Illustrated by 



» > 


New York 

George H. Doran Company 



\ 7 *° 


COPYRIGHT, 1923, 

BY GEORGE H. DORAN COMPANY 



» 


♦ t • 



These flays are fully frotected by cofyright and no ferform- 
ance may be given without the consent of the author , who may 
be addressed in care of the fublisher. 

THE MAGIC SEA SHE'LL. II 
PRINTED IN THE UNITED STATES OF AMERICA 

NOV -9 IS23 


©C1A7G0797 

«VvS | 






TO 

HENRY JAMES WRIGHT 

WHO, AT TWO YEARS, IS ASSUREDLY 
THE WORLD’S GREATEST ACTOR 



















FOREWORD 


Several years ago in the Connecticut farm country 
there was a group of us, children and their parents, 
too, playing through the summer time. We found an 
open space surrounded by tall pines back of our gar¬ 
den. “Just the place for a play!” we exclaimed. “But 
where was the play?” I was commissioned to write 
one, and so I conceived the idea of gay children’s 
masques for special places and times. They are meant 
to be given in a spirit of play. Most of them, I hope, 
do not require long and tedious rehearsing. Informal 
music, a victrola hidden in a garden bush or behind a 
house curtain, often helps to create atmosphere. I 
find that children like to recite verses, so I have 
sprinkled rhymes along the way of the dialogue. The 
number of characters in a play can often easily be 
changed by cutting, without injuring the story. For 
costumes? Well, follow our suggestions if you can. 
Perhaps you, too, have a costume trunk like the rich 
one that used to be hidden under the eaves of my 
grandmother’s attic. If not, mother’s wardrobe often 
does quite as well. It’s extraordinary what effects can 
be achieved with a scarf and a few flowers. To Miss 
Ludlum I should like to express sincere gratitude. 
Her costume suggestions, her taste and her enthusiasm 
for the spirit of these masques has been of incalculable 


Foreword 


Vlll 


aid. Her drawings speak for themselves. My own 
favorite among these plays is “God Pan Forgotten.” 
I hope it will be performed often in willow groves 
or pine woods on a slope of buttercup meadow by a 
brook; and if any family living near New York City 
should play it through without inviting its author, may 
the pranks of some angry elf harass them down the 
years. 

J. F. 


New York City . 


The Author thanks The Bookman for permission 
to print two of these plays published previously in 
that magazine and The Yale University Press for the 
use of three lyrics which appeared originally in “For¬ 
gotten Shrines.” 




CONTENTS 


PAGE 

THE HOUSE GNOMES. 19 

A Play for a Christmas Tree 

GOD PAN FORGOTTEN. 39 

A Play for a Forest Sface 

THE KINGDOM OF THE ROSE QUEENS . 59 

A Play for a Summer Garden 

THE MAGIC SEA SHELL. 85 

A Play for the Sea Shore 

GRANDMOTHER DOZES. 103 

A Play for a Winter Evening 

BIRTHDAYS COME IN FEBRUARY . . . 119 

A Play for Birthdays 

WORSHIP THE NATIVITY. 139 

A Masque for Christmastide 



ILLUSTRATIONS 


PAGE 


characters for The House Gnomes . . 16—17 

THE HOUSE GNOMES RESTORE THE CHRISTMAS TREE 27 

CHARACTERS for God Pan Forgotten . . 36-37 

“they do believe in us. don’t you? don’t 

you?”.45 

characters for The Kingdom of the Rose 

Queens ....... 54—57 

“i AM RAYS CAUGHT FROM SHOOTING STARS, CATCH 

ME IF YOU can!” . . ... . .69 

CHARACTERS FOR The Magic Sea Shell . . 82-84 

THERE WAS A SHOUT OF “HOLD THERE? SHIP 

ahoy!”.93 

characters for Grandmother Dozes . . .102 

“—and then only to defend a lady” . .109 

characters FOR Birthdays Come in February 116-117 
“we want to be born in February!” . 127 

characters FOR Worship the Nativity . . 134-137 

“it CAME UPON A MIDNIGHT CLEAR” . . .149 


THE HOUSE GNOMES 

A Play for a Christmas Tree 
(for Anthony Dell) 


CHARACTERS 

The Boy and Girl 



TOMMY 

A boy of six, dressed in white 
as if for a party. 


ALICE 

A girl of eight, also in white 
party clothes. 



The House Gnomes 


WELCOME, THE DOOR MAT 

Entirely obscured by a brown, 
shaggy bag, from which the face, 
hands, and feet emerge. Across the 
front in black letters is written “Wel¬ 


come. 


y> 



Tw&r' h 



SCISSORS 

A boy who wears grey trousers and a swal¬ 
low tail coat, on the back of which is the 
black silhouette of a pair of scissors, with 

the tails of the coat representing the blades. 
16 







Characters 


17 


BROOM 

Her skirt is of straw, and her waist of a 
gay corded scarf. She wears a light yellow 
wig, wired so that the hair stands out in all 
directions. 




DUST PAN 

A girl both sides of whose stiffened 
skirt represent a dust pan, her waist 
and hat the handle. Her arms and 
head project. 



The Bric-a-bracs 


A piece of French 
china, a dainty shep¬ 
herdess and her swain. 
This couple can be 
omitted if the cast is too 
large for the family or 
families giving the play. 



The Family 

Any number of relatives, great and small, who take part 
in the closing scene, and by their gifts add greatly to the 
happiness of players as well as spectators. 


















THE HOUSE GNOMES 


Scene: A room in the family’s house on Christmas Eve. 
At the right a fireplace in which red embers are glow¬ 
ing. At the left a door which connects the room with 
the main hallway of the house. At the back, center, 
folding doors which are closed at the start of the play 
and close again after the entrance of each House 
Gnome. It is dark except for the fire. 

The door at the left opens softly, and Alice enters, 
followed cautiously by tommy who carries either a 
candle or a flashlight. 


ALICE 

Don’t make so much noise! (She crosses slowly 
toward the folding doors.) 

TOMMY 

{Loudly) Sssh! 


ALICE 

Please, Tommy, be careful! Don’t make that noise. 

TOMMY 

(.Louder than before) I’m only saying, “Sssh!” 

ALICE 

(As she arrives in front of the doors, loudly, in 
alarm) Tommy! 


19 


20 


The Magic Sea Shell 

TOMMY 

Sssh! 

ALICE 

But, Tommy, it’s gone! 

TOMMY 

What’s gone? 

ALICE 

The tree, the Christmas tree. It was here only a 
few minutes ago, and now it’s gone. What shall we 
do? Where can it be? 

TOMMY 

I told you we’d better not look at it when mother 
told us not to. 

ALICE 

Who could have taken it away? 

TOMMY 

Perhaps it’s in the next room. 

ALICE 

I’ll look. ( She draws the folding doors an inch or 
two. tommy flashes his light.) No! Oh, Tommy, 
Tommy, what shall we do? The Christmas tree is 
gone. It couldn’t have been stolen. Mother and 
father are out calling. The company for to-night 
hasn’t come. Whatever is the matter? Oh! Oh! 
(She sits on the floor weeping) Oh! Oh! 

tommy 

Sssh! Stop crying. It’s silly to cry. Only girls cry! 

ALICE 

The presents, too! They’re gone. We shouldn’t 


The House Gnomes 21 

have looked at the tree when they told us not to. You 
won’t get your skates, Tommy, and I—I won’t get my 
new Paris doll! Oh! Oh! {She cries again.) 

TOMMY 

Skates? My skates—( He starts to whimper.) 

ALICE 

{Brightening somewhat) You’re crying. 

TOMMY 

{Sturdily, but with difficulty) No, I’m not! I’m only 
thinking of the skates. 

ALICE 

Only girls cry. 

TOMMY 

I’m not a girl. 

ALICE 

But you’re crying. {They both sit on the floor in 
complete dejection. There is a sound of music and a 
soft glow of light as the folding doors draw back and 
welcome, the door mat, stands in tableau. Both 
children cry out in surprise.) 

TOMMY 

{Amazed and a little frightened) What are you? 

WELCOME 

You should know who I am. You’ve wiped your 
muddy feet on me often enough. 

ALICE 

Why, what do you mean? 

WELCOME 

I’m a House Gnome! A much neglected person, so 


22 


The Magic Sea Shell 

there! And you—you ought to be ashamed—both of 
you. Didn’t you look at the Christmas tree when you 
were forbidden to do so? Oh, the House Gnomes will 
punish you! 

TOMMY 

No! No! We didn’t do anything. What is a House 
Gnome? 

WELCOME 

Young man, listen to me. ( He recites ) 

“If you were a Door Mat I’m sure that you’d say, 

It’s hard to shout ‘Welcome’ by night and by day, 

When you lie all alone on the porch by the door, 

There’s no one to love you, your home is the floor. 

I’m Welcome, the Door Mat, whose horrible fate 

Is to take kicks from dirty shoes, early and late.” 

{There is music. He dances a little , turns a somer¬ 
sault on the floor, then lies on his back.) 

ALICE 

Did you take away our tree? 

WELCOME 

Of course, stupid. We House Gnomes have put up 
with a great deal from you children, and we’re particu¬ 
larly interested in Christmas trees. Now we shall 
punish you for not minding your parents, and we shall 
take you away, too. 

TOMMY 

No! No! I don’t want to go away. What did you 
do with my skates? 


The House Gnomes 


23 


WELCOME 

Hush! Can’t you see some one is coming? What 
an impolite child you are, to be sure. 

(There is a swirl of gay music and broom dances into 
the room . She revolves rapidly, sliding here and there 
as if she were sweeping. After her dance she stands in 
front of alice.) 

broom 

So you are the young lady who pulled out one of my 
straws the other day to make a walking stick for your 
doll. ( She reaches forward and pulls Alice’s hair ) 
How do you like to have your straws pulled? 

ALICE 

Oooo! It’s not a straw! It’s a hair! 

BROOM 

How absurd! Of course it’s straw! 


TOMMY 


What are you? 

BROOM 

What a very stupid child you are. 
like? 


TOMMY 


Like hay! 


ALICE 

Hush! You’ll hurt her feelings. 


What do I look 


BROOM 


{Recites) 

“Oh, all the ladies of the world 
When they have tired of play 


24 


The Magic Sea Shell 

They scrub the kitchens and the halls, 

They chase the dirt away. 

“But what would happen to them all 
If it were not for me, 

They’d have to soil their dainty hands 
And bend upon the knee. 

“Oh, I’m the broom, the useful broom, 

I swish, I sweep, I sway, 

I’m empress of the kitchen 
And the queen of cleaning day.” 

TOMMY 

Cook’s queen of the kitchen! 

BROOM 

I beg your pardon, I said, “Empress.” 

TOMMY 

What’s an empress? 

BROOM 

You’re too little, you wouldn’t understand. 

TOMMY 

I’m not little—and I want my skates. 

BROOM 

Soon now you will come with us. You will disappear 
like the tree and never, never will be seen again. (She 
stands against the wall.) 

WELCOME 

And never again forget to wipe your feet on me. 


The House Gnomes 


25 


ALICE 

No! Oh, no! Please. 

BROOM 

Well, well, see who’s here now! 

(dust pan appears in the doorway. She walks with 
a swaying movement.) 

DUST PAN 

You shouldn’t have left me alone so long. I’m very 
lonely. These children are causing the House Gnomes 
no end of trouble. They should be ashamed. 

ALICE 

We are! Only please go away and please bring us 
back our Christmas tree. 

TOMMY 

(To dust pan) What a funny girl! With a funny 
dress! 

DUST PAN 

You think I’m funny! 

BROOM 

You must admit, Dust Pan, that you’re helpless with¬ 
out me. 

DUST PAN 

(. Recites ) 

“If you think that the life of a Dust Pan 
Is not filled both with joy and romance, 

Just look at my feet and my fingers, 

As I twirl them and join in the dance. 

“For the dust which I wear in my apron 
Is not even so gray as it seems, 


26 


The Magic Sea Shell 

There is often a penny or jewel 

That glistens and glitters and gleams. 

“Who knows but when I have grown older, 

The Queen of the Fairies will say, 

‘All the horrid old dust in the Dust Pan 
Shall change to pure gold every day!’ ” 

BROOM 

Who knows? The Fairy Queen has done more diffi¬ 
cult things than that! 

TOMMY 

(Breathlessly ) Has she? 

DUST PAN 

Why, of course! What extraordinarily — 

TOMMY 

(.Interrupting ) What? 

DUST PAN 

You don’t seem to understand the simplest words. 
I was saying what extraordinarily unintelligent young 
people you are. 

TOMMY 

Oh, I see. 

ALICE 

Tell us, please tell us what you are going to do. 
Where are you going to take us? 

WELCOME 

You’re always talking at just the wrong time. 

ALICE 

How many House Gnomes are there? 


The House Gnomes 


27 



CHE HOUSE GNOMES RESTORE THE CHRISTMAS TREE 























































The House Gnomes 


29 


BROOM 

(Impressively ) Millions! 

ALICE 

They aren’t all coming here, are they? 

BROOM 

(Tantalizing ) Wait! 

(A minuet is heard and the doors slide back reveal¬ 
ing the bric-a-bracs in tableau. They dance.) 

TOMMY 

You’re very pretty! Who are you? 

LADY BRIC-A-BRAC 

You are an intelligent child. Why, I am Bric-a- 
Brac. Don’t you remember that you broke a piece of 
ribbon from my hat last week? I forgive you, though. 

BROOM 

He didn’t tell me how pretty I was. I’m in favor 
of taking them right away. 

ALICE 

Let’s run, Tommy! ( They rush toward the door on 
the left; but broom and dust pan seize them and bring 
them back.) 

BROOM 

Sit down, now, and keep quiet. 

TOMMY 

I think that you’re all just as pretty, as pretty— 

BROOM 

You should have thought of that before. 

WELCOME 

Let’s bring the tree back to them. 


30 


The Magic Sea Shell 

DUST PAN 

You’re far too tender-hearted, Welcome. That’s 
because you’ve been kicked about so much. 

ALICE 

Oh, Dust Pan, please be tender-hearted, too! 

BROOM 

Hush! 

(scissors appears, jumping with his hack to the 
audience so that the tails of his coat, which are fastened 
to either leg, move as if the scissors were being opened 
and closed .) 

TOMMY 

Oh! Look at the frog! 

scissors 

(■Stopping his dance, indignantly ) Frog! 

ALICE 

Do be more careful, Tommy! 

SCISSORS 

You’ve seen me many times before, and I’m most 
certainly not a frog. 

{Recites) 

“The scissors cannot happy be, 

They cut and cut eternally, 

They’re always spoiling silks and such, 

They can’t enjoy it very much; 

’Twould be far nicer in the end, 

If they could change their work—and mend, 

For though they have such cruel features 
They’re really tender-hearted creatures.” 


The House Gnomes 


31 


ALICE 

Then be kind to us. Bring us back our tree. 

BROOM 

What do you think about it, Scissors? Shall we? 

SCISSORS 

They’re always dropping me behind the sofa. It’s 
dark there. I should like to take them with us where 
we can be sure that they obey and are not naughty. 

TOMMY 

What fun! 

SCISSORS 

Fun? 

BROOM 

You want to come with us? 

ALICE 

With you, to Fairyland? I didn’t understand before. 
That would be fun. Come on, Tommy, let’s go with 
them. You can have your skates there. 

BROOM 

Oh, this is different. We must punish them. That’s 
a puzzle. It’s not punishing them to let them do some¬ 
thing they want to do. 

DUST PAN 

Decidedly no! And what a bother they would be 
for us. . . . Do you children promise always to be 
careful of the furniture and of everything in this house, 
remembering that the House Gnomes are watching 
you? 


32 


The Magic Sea Shell 

TOMMY AND ALICE 

( Together) Yes! Yes! 

WELCOME 

Let’s get the tree! 

HOUSE GNOMES 

(In chorus) Yes! Yes! 

(A gay march. They circle the room twice. The 
folding doors open, broom waves her arms. A curtain 
rises and the lighted tree is seen back of the doors.) 

TOMMY 

(. Delighted ) Oh! 

(The House Gnomes sing a Christmas carol, and 
dance with the children about the tree. Suddenly, the 
family enters at the left.) 

TOMMY 

See, Mother, see! The House Gnomes. 

FAMILY 

(In chorus) What? 

ALICE 

The House Gnomes. 

FAMILY 

We don’t see anything. 

(The House Gnomes laugh and dance away.) 

TOMMY 

(Gravely) I saw them. 

ALICE 

(Firmly) So did I! 

MOTHER 

You’ve been imagining things and you shouldn’t 


33 


The House Gnomes 

have come down here until we told you to do so; but, 
never mind, it’s Christmas now, and let’s have our 
presents. 

TOMMY 

My skates! 

ALICE 

My doll! 

FATHER 

(Bringing out a basket filled with gifts) Here they 
are! Let’s all sing a carol before we begin opening the 
packages. 

(They sing, and as they sing the House Gnomes may 
be seen dancing about behind the tree.) 


Curtain 



GOD PAN FORGOTTEN 

A Play for a Forest Space 
(for Evelyn Lovett) 


CHARACTERS 



THE SPIRIT OF THE SHRINE 

A tall girl with golden hair, 
wearing flowing green dra¬ 
peries. 

A CHILD OF PAN 

A boy clothed in vines and 
skins. He has furry ears, a 
suggestion of hoofs, and car¬ 
ries pipes. 



THE MIKUMWESS, AN INDIAN ELF 

A lithe boy, brown-skinned. He wears green trunks, 
bright moccasins and a long bobbing green feather in his 
hair. (See page 45.) 



A MODERN BOY 

He wears an ordinary 
summer suit. 


THE SPIRIT OF DREAMS 

A lovely golden-haired child dressed 
in white. 







Characters 


37 



THE SPIRIT OF THE WIND 

A little boy of five or six 
years wearing gray veils. 

THE SPIRIT OF THE FOREST 

A dainty brown-skinned girl, 
with leaves in her hair. She 
wears a green dress covered 
with bright-colored wild flow¬ 
ers and carries a staff wound 
with flowers. 






THE SPIRIT OF MISCHIEF 

A red-headed little boy wearing a 
rough and tumble blue suit. 


THE SPIRIT OF SPORT 

A boy of thirteen or fourteen. He 
wears a swimming suit and carries a 
paddle. 



THE SPIRIT OF YOUTH 

An older boy. He wears a leopard skin. (See page 45.) 







GOD PAN FORGOTTEN 


Scene: An open space in a forest. Dense underbrush 
and high trees form a background. In the center 
of the space is a pile of stones covered with moss 
and flowers. There is the sound of pipes being 
blown in the distance, the spirit of the shrine 
rises slowly from behind the stones. 

THE SPIRIT OF THE SHRINE 

Pan! Pan! God Pan! Where are you? Your 
shrine is deserted. I am lonely, Pan. Where are you? 
(There is no answer except the sound of pipes, sound¬ 
ing even farther away.) 

Come to me, Pan, with your wind-wild laughter. 

Where have you hidden your golden reed? 

Pipe me a torrent of tune-caught madness. 

Come to me, Pan, in my lonely need. 

Where are the white-footed youths and the maidens, 
Garlanded, rose-lipped, lyric with Spring? 

They tossed me poppies, tall lilies and roses, 

And now but the winds their soft blown petals bring. 

Where are the fauns and the nymphs and the satyrs? 

Where are the voices that sang in the trees? 

Beauty has fled like a wind-startled nestling, 

Beauty, O Pan, and your sweet melodies. 

39 


40 


The Magic Sea Shell 

Come to me! Come to me! God of mad music; 

Come to me, child of the whispering night. 

Bring to all silences torrents of music, 

People all shadows with garlands of light. 

(The child of pan enters, dancing and piping 
through the forest. When he sees the shrine, he gives 
a little sigh of relief. He sits down on the stones, then 
he shakes his head sadly.) 

THE CHILD OF PAN 

Oof! I’ve come a long way. So this is where my 
father lived. I thought I’d never get here. Aren’t 
people funny? They put me in a zoo. They put me 
in a cage, put me, the Child of Great God Pan, in a 
cage among the freaks, In a Circus l They have shut 
themselves away from romance. They have forgotten 
how to play and have hidden within four dusty walls. 
So we are all banished, wood gods, elfs, sprites, fairies, 
pixies, leprechauns. They have forgotten us. They 
do not believe in us. 

THE SPIRIT OF THE SHRINE 

They are too busy. They rush hither and thither. 
Long ago they stopped coming here. 

THE CHILD OF PAN 

My father told me long, long ago that it was hope¬ 
less; but I like to keep on trying, to keep on looking 
for beauty. 


THE SPIRIT OF THE SHRINE 

Perhaps some day the world will grow young again. 


41 


God Pan Forgotten 

Youth may again turn toward beauty and lead the 
world to the door of Fairyland. Until then, farewell. 

Come to me! Come to me! God of mad music; 

Come to me, child of the whispering night. 

Bring to all silences torrents of music, 

People all shadows with garlands of light. 

(i She disappears, the child of pan sits dejectedly 
by the stones, the mikumwess comes running in, 
looking furtively behind him. He runs about, hopping, 
now here, now there, shy but active. He sees the 

CHILD OF PAN. 

THE MIKUMWESS 

Oh! 

THE CHILD OF PAN 

Are you human? 

THE MIKUMWESS 

Of course not. Do I look human? Pm an Indian 
elf, my name’s the Mikumwess. 

THE CHILD OF PAN 

I’m a child of God Pan—you look very unhappy. 
What’s the trouble? 

THE MIKUMWESS 

I’m discouraged. There’s a boy coming through 
the woods. He’s thoroughly modern. I’m afraid that 
he will not see me. 

THE CHILD OF PAN 

Of course not. Modern people are too practical to 


see us. 


42 


The Magic Sea Shell 

THE MIKUMWESS 

And I’m afraid that he will not believe in me. 

THE CHILD OF PAN 

That’s a strange way to look at it. How can these 
modern folk see you if they don’t believe and how 
can they believe in you if they don’t see you. They 
have no imaginations. 

THE MIKUMWESS 

I’m always hoping—perhaps this one is different. 
Perhaps he has an imagination. He might help us 
to make all the world believe in us and see us again. 

THE CHILD OF PAN 

It’s hopeless. My father, Pan, gave up trying years 
ago, and I’m discouraged. Look at Bacchus. He’s 
thin and ailing. Quite unhappy, you know. 

THE MIKUMWESS 

It’s worth trying anyway. 

THE CHILD OF PAN 

Oh, very well, I haven’t anything better to do. 

(the modern boy comes in, whistling Yankee 
Doodle, not very well but very loudly. He sees a 
wild flower, stoops to pick it.) 

THE MIKUMWESS 

(i Shyly ) Boy! 

{He goes on picking the flower, the child of pan 
goes over and touches him lightly on the shoulder. 
He straightens up, but does not see either of them. 
Goes on whistling “ Yankee Doodle” and nears another 


God Pan Forgotten 43 

clump of flowers. They dance about him shouting, 
but he does not notice them.) 

THE MIKUMWESS 

Alas! He doesn’t believe in us. 

THE CHILD OF PAN 

He’s too blind to see us. 

THE MIKUMWESS 

Let’s put him to sleep. Then we can make him 
dream. Shall we? 

THE CHILD OF PAN 

Can you put him to sleep? 

THE MIKUMWESS 

Of course. He’s sleepy already. Watch me. 

{He goes over to the modern boy, waves his hands 
at him. The boy f s whistling becomes slower and 
slower. He yawns. He stretches his arms above his 
head.) 

THE MODERN BOY 

My, but I’m sleepy! 

{He looks about him for some mosses. Smooths 
himself a place among the stones, then curls up on the 
ground. Soon he is asleep.) 

THE MIKUMWESS 

Do you see? He’s fast asleep. 

THE CHILD OF PAN 

How funny he looks. Human beings wear such ab¬ 
surd clothes! 

{The boy stirs and mutters.) 


44 


The Magic Sea Shell 

THE MIKUMWESS 

Hush! He’s dreaming of us now. Be careful what 
you say. ( To the boy) Now, believe in us, O Boy, 
and we will call other spirits to you. Learn from 
them, O Boy, that there are magic things in the world 
—that fairyland is not dead. 

THE CHILD OF PAN 

Come! Let’s sit on the shrine and call out the 
spirits. Do you suppose he will really believe in 
them? 

(They climb upon the stones and perch there.) 

THE MIKUMWESS 

It’s hard to tell with human boys, they’re extraor¬ 
dinarily dull. I think that I should have preferred 
a girl. Well, never mind that now. Let’s call out 
The Spirit of Dreams. ( Cupping his hands and shout¬ 
ing) Ohe—Dreams! 

{There is soft music, the spirit of dreams dances 
on. She is blowing a large white bubble before her. 
She tosses it in the air, then catches it. She dances 
with it, then she hovers over the modern boy and 
speaks.) 

THE SPIRIT OF DREAMS 

Swift! Swift! Whirling 
Headlong, petal-hurling. 

Wind! Wind! Whither blowing? 

Take me where brown brooks are flowing, 
Where the white-fringed orchid’s growing. 
Wind! Wind! Whither blowing? 


God Pan Forgotten 


45 



“they do believe in us. don’t you? don’t you?” 






























































47 


God Pan Forgotten 

Up! Up! Dancing 
Through the meadows glancing. 

Bubble! Bubble! Whither flying? 

Lead me where new hay is lying 
And the plaintive thrush is crying. 

Bubble! Bubble! Whither flying? 

Dreams! Dreams! Stealing, 

White-winged birds a-wheeling. 

Sleep! Sleep! Whither straying? 

Soothe me where bright clouds are graying 
And silver dream fountains are playing. 

Sleep! Sleep! Whither straying. 

(.She tosses the bubble high away from her among 
the trees, then throws herself upon the moss at the 
right of the clearing.) 

THE MIKUMWESS 

Ohe, Wind! Where are you whispering? Is it in 
the tops of the pine trees, perhaps? Come here! 
Come here! Wind! Ohe, Wind! 

(wind rushes in. He shouts, “Whoo! Whoo!” run¬ 
ning in circles, bending over the modern boy, shaking 
his finger at the audience, still shouting, “Whoo!” 
THE MIKUMWESS and THE CHILD OF PAN laugh at 
him.) 

THE MIKUMWESS 

See! The Wind is chasing through the trees! 

(.Finally wind subsides on a tree stump at the left 
of the clearing and is silent.) 


48 


The Magic Sea Shell 

THE MIKUMWESS 

Ohe, Forest! Come from your deep stillness. 
Shake off your summer drowsiness. Ohe, Forest! 

(There is a stately dance, the spirit of the 
forest sweeps in majestically. She does a graceful 
dance with long sweeping motions of her arms, slow 
whirls, and fluttering of draperies. Finally she 
stands leaning f posed against a tree trunk at the 
back.) 

THE MIKUMWESS 

Hie! Mischief! Come away from the cooky tin 
in the pantry. Come here! Come here! We all 
know you. You can’t escape. Mischief, Mischief! 
Come here! 

(mischief runs in from behind the audience. On 
his way toward the Shrine he stops to poke one or 
two people gently. He shakes his finger at them , 
runs to the shrme } stamps his foot defiantly. Stands 
over the modern boy, shrugs his shoulders, laughs , 
then speaks.) 

MISCHIEF 

I couldn’t help just coming in 

To pinch the fat and poke the thin. 

I’m Mischief. What else could I be? 

And fondest of the nursery; 

But in the woods I’m just as free 

To shout and yell eternally! 

Good mothers all, you welcome me 

(He pauses.) 

With what? 


49 


God Pan Forgotten 

{He winks — pauses.) 

I shall not wait to see. 

{Runs rapidly to the back of the clearing and sits 
down.) 


THE MIKUMWESS 

Ohe, Sport! Leave the baseball diamond, the lake, 
the gymnasium, long enough to come here! Ohe, 
Sport! 

(sport walks on slowly with a slight swagger. If 
he can, he turns a couple of handsprings. If not, an 
Indian Club or dumb-bell movement to music might 
be effective, or simply shadow boxing.) 

SPORT 

When I take up my baseball bat, 

I knock the stars about; 

When I go on the football field, 

The Chinese hear me shout. 

I run far faster than the wind, 

I skate before the sleet, 

And I, when leaping through the sky, 

Clear mountains with my feet. 

I’m stronger far than Hercules, 

Than Sampson or his like. 

I’m fond of swimming, crew or track, 

And I can run or hike. 

But if I’m playing any game, 

And lose—it is no sin. 


50 


The Magic Sea Shell 

The playing of the game’s the thing. 

One cannot always win! 

(He leaps to the back of the stage.) 

THE MODERN BOY 

(Jumping to his feet) I wish I were as strong as that. 
(Looking about him, puzzled.) Oh! I thought I saw 
someone. 

ALL 

You did! You did! See us! See us! 

THE MODERN BOY 

How foolish of me to go to sleep. Here I have been 
dreaming all afternoon. 

ALL 

No! No! We’re not dreams, we’re real. Believe 
in us, see us. 

(the modern boy puts his hands in his pockets, 
starts whistling “Yankee Doodle” again and walks off 
nonchalantly.) 

THE MIKUMWESS 

It’s a shame! 

THE CHILD OF PAN 

My father warned me—beauty, he said, and imagi¬ 
nation have vanished from this earth! 

(The Spirits stand dejectedly. There is a sudden 
burst of music and the spirit of youth walks on.) 

YOUTH 

(To the Audience.) 

I spring from out your glowing eyes, oh, men, 

From wide and sunny spaces of the world, 



God Pan Forgotten 51 

From summer winds, from summer thunder clouds, 
From all the beautiful and all the good, 

Through death, immortal and eternal youth! 
Wherever there is sorrow, I shall be 
To place instead hope, joy and fortitude, 

To strengthen aged limbs, to banish tears, 

To lend a purpose to the daily round, 

To lighten up the solitudes of life, 

And so, remember me, and use me well; 

For kings and sages, paupers, fools and saints 
Are mingled in the happiness of Youth! 

(To the Spirits.) 

See! As long as I am here, they will believe in us. 
They do believe in us. Don’t you? Don’t you? 
(They all hold out their hands to the audience.) 

THE MIKUMWESS 

Come out with us! The way lies clear! The door 
of Fairyland’s ajar! See the lights beyond! See the 
childhood memories. Follow him—the hope of life 
and death—Eternal Youth! 

(Each Spirit takes one of the audience by the hand 
and leads him away through the trees to Fairyland.) 


Curtain 



THE KINGDOM OF THE ROSE 

QUEENS 


A Play for a Summer Garden 
(for F. Trubee Davison, Jr.) 


CHARACTERS 


BILL 

Short brown running 
trousers, bare legs, ten¬ 
nis shoes, no hat. His 
age can be anywhere 
from 8 to 16. 


THE YELLOW VIOLETS 

Yellow and green robes with streamers of yellow from 
the waist. Yellow petals fastened in the hair, which is 
worn loose. Preferably girls of io or 12. 

TOADSTOOL 

A large brown hat to look 
like the top of a toadstool, 
lined with scarlet. A stiff 
cardboard stem envelops the 
body. Arms and feet project. 

A boy. 

POISON IVY 

Green tights. Long silver 
or brown claws on the fingers. 

Head covered with leaves. 

Deeply lined face. 

JACK-IN-THE-PULPIT 

A wired brown and green hood, and striped brown and 
green tights. 




54 













Characters 


55 


INDIAN PIPE 

A silverish white head-dress, and gray and silver-white 
tights. Both Jack and the Pipe should give the impression 
of grotesqueness to contrast with the color and grace of 
the other two guards. 

TRILIUM 

White flowing draperies. A green scarf. Three white 
petals with bright yellow tuft as head-dress. 

ARBUTUS 

Pink flowing draperies. A crown of tiny pink rosettes. 
Green ribbons twined through pink of gown like vines. 



WILD ORCHID 

Dressed in dull red and green to represent the Lady 
Slipper. 

WILD ASTER 

A green robe covered with crinkly, feathery, purple paper 
flowers. 

QUEEN WILD ROSE 

Green tights, a crown of wild roses. Wide crinkly petals 
for a skirt, fastened to a green girdle. A sceptre tipped 
with a wild rose. 









56 


The Magic Sea Shell 

PURPLE WOOD VIOLET 

The same as yellow violets except for color. 

WILD MORNING GLORY 

Green tights. A purple ruff about the throat. A varie¬ 
gated trumpet-like head-dress and green draperies. 

WILD POPPY 

A flaming ruff and green draperies. Carries a scarlet 
scarf. 



HOT HOUSE ORCHID 

Elaborate purple and green gown. Exotic head-dress and 
many veils. 

GARDEN ASTER 

Green gown. Hat of purple and yellow set rakishly on 
the side of the head. 

GARDEN VIOLET 

Five-petaled purple skirt. Green hat of heart-shaped 
leaves. 

GARDEN MORNING GLORY 

Stiff and more elaborate than wild morning glory. 

GARDEN POPPY 

Crinkled red skirts—a green head-dress and draperies. 








Characters 


57 


WILD HONEYSUCKLES 

Pink hats and pink draperies of a light and a darker 
shade. 


TRUMPET FLOWERS 

Orange trumpet-like hats, orange skirts, green draperies. 

QUEEN GARDEN ROSE 

Stiff and fluffy scarlet skirts of elaborate stuffs. 

HOLLYHOCK 

A petalled cap and crinkled skirts. White or pink. 


HOUSE IVY 

Gray and green draperies with garlands of ivy leaves. 


drab—a large hat and stuffed 


HOT HOUSE MUSHROOM 

Heavy, cumbersome, 
trousers. 



TWO GARDEN HONEYSUCKLES 
Brighter, stiffer than the 
Wild Honeysuckle. 

FOAM FLOWER 

A shower of white streamers, 
laces and ribbons. 


SALLY 

A little girl dressed in white and pink with white and 
pink ribbons in her hair. 





















THE KINGDOM OF THE 
ROSE QUEENS 


Scene: A rounded open space at the edge of a forest. 
The ideal out-of-door setting would be within sight 
of a flow er-gar den, from which the garden flowers 
could run for their entrance. If this is not possible, 
a row of hollyhocks at one side can indicate the 
garden. The queens and their guards enter from 
arches which are formed, one at the left by wild 
bushes, one at the right by flowered vines. The 
wild flowers shoidd make their entrances from be¬ 
hind trees, or by rising from bushes, clumps of 
ferns or piles of leaves. If an orchestra is not pos¬ 
sible, a phonograph hidden in the bushes is effective. 
At center stage toward the back is a rough stone 
pile which is utilized as a throne and must be wide 
enough to seat two persons. If given out-of-doors 
there should be no curtain. An indoor set is easily 
devised by use of green curtains and a few evergreen 
trees. Screens of vines and ferns are also excellent. 
The best results can be obtained by stressing the cos¬ 
tumes of the masque and providing a simple back¬ 
ground of greens and browns. If the cast is too large 
it will be found easy to eliminate certain flowers. 

At the opening of the masque, the three yellow vio- 

59 


60 


The Magic Sea Shell 

lets are seen dancing in the distant wood. They 
come nearer and nearer, imtil finally they are laugh¬ 
ing and shouting, with hands joined, and heads back, 
fluttering in a ring. There are sounds of shouting 
and a : baseball flies onto the stage. The yellow vio¬ 
lets make a rush for it. One of them snatches it 
with a shout of glee and they fall in a cluster to¬ 
gether on the grass, the ball hidden among them. 

BILL 

{Shouting from off-stage ) It went over here! I 
saw it. Can’t you throw a ball straight? {He rims 
on and looks about.) Oh! {Much vexed.) Well. 
I suppose it’s lost in the woods. Or perhaps it’s over 
here. {He approaches the yellow violets and puts 
his hand down to pick one of them.) What pretty 
violets! Guess I’ll take them home! he says 

this, the violets jump up laughing. They throw the 
ball from one to another and point a scornful finger 
at BILL.) 

BILL 

Who are you? What do you mean by stealing my 
baseball? {He runs after them, but cannot catch 
either them or the ball. They laugh at him.) Tell 
me who you are! Do you think that you can misbe¬ 
have in this fashion? I’ll call the gardener; or 
{viciously) a policeman! 

THE VIOLETS 

Policeman! Ha! Ha! Ha! Ho! Ho! Ho! 

FIRST VIOLET 

He’ll call a policeman! Ha! Ha! 


The Kingdom of the Rose Queens 61 

SECOND VIOLET 

To arrest the Yellow Violets. Ho! Ho! 

THIRD VIOLET 

Sisters, now is our chance to punish this bad boy for 
all the wicked things he has done to the wood flowers! 

BILL 

Punish me? Don’t be absurd! I haven’t done any¬ 
thing. 

FIRST VIOLET 

Oh, haven’t you? We’ll see! Seize him! ( The 
other two take his arms while he struggles .) Ivy! 
Ivy! Poison Ivy and Toadstool, come here! Come 
here! Executioners of the Woodlands! 

BILL 

Executioners, bah! Let me go! 

SECOND VIOLET 

He must learn politeness. He does not say please. 

BILL 

Why should I say “please*’ to you who are nothing 
but silly flowers? 

FIRST VIOLET 

We shall see! Make way for the executioners. 
(toadstool and poison ivy dance in, grotesquely, 
bearing between them a giant pile of vines.) 

toadstool 

There are those who call me ugly 
When they see me in the wood, 

And for eating I am seldom 
If ever, any good; 


62 


The Magic Sea Shell 

But I’m happier than many, 

In spite of facts like this, 

For I’m footstool for the fairy queen, 

A thing I would not miss. 

She comes across the forest, 

At twilight or at dawn, 

And starlight are her slippers, 

Her steed a tiny fawn, 

Her eyes are filled with moon-glint, 

Her hair the setting sun, 

Her lips are from the blood-root, 

Her gown of lightning spun. 

She sets her foot upon me, 

With all her court beside 
And I’m no longer toadstool 
But something deified! 

POISON IVY 

{In hissing, villainous tones) That’s all very well; 
but they’re afraid of me. Everyone’s afraid of me 
{pointing his finger). I’m dangerous, I am. 

TOADSTOOL 

The Fairy Queen wouldn’t be afraid of you. 

POISON IVY 

{Angrily) What difference does that make? Every¬ 
one else is! Look, there’s that bad boy! I’ll poison 
him, watch me! 


The Kingdom of the Rose Queens 63 

FIRST YELLOW VIOLET 

No, Poison Ivy, not yet, not unless he tries to escape. 
Bind him firmly with your vines and put him down 
in front of the Queen’s throne. It’s very nearly time 
for the court to arrive and then we shall see, oh, yes, 
we shall see! Queen Wild Rose will see just what’s 
to be done with a boy who (with emphasis ) pulls ferns 
up by their roots! 


BILL 

(Staring at toadstool and poison ivy) Do you 
think that I’m afraid of you? 

POISON IVY 

I’ll poison you. Don’t speak another word! 

(bill struggles, but they bind him and place him 
in front of the throne, as march music is heard in the 
distance .) 

FIRST VIOLET 

Make way for the Queen! Make way for Queen 
Wild Rose! 

(There is a blare of trumpets. The two other 
yellow violets dance to opposite sides of the wood. 
One secures a huge bunch of wild roses which she scat¬ 
ters about the grass as she dances. The other takes 
from a branch where it has been hanging a chain made 
of wild roses which she twines about the gray stones 
of the throne .) 

BILL 

Please let me go! Please let me go! What are you 
trying to do to me? 


64 


The Magic Sea Shell 

POISON IVY 

Hush, or I’ll poison you! 

TOADSTOOL 

The Queen is coming. The whole world must be 
silent. 

BILL 

(.Regaining confidence) I’m not the whole world. 

POISON IVY 

(With a threatening motion of his claws) Hush! 
Here comes the Queen’s Guard of Honor. 

(The march music now becomes louder. The first 
violet takes her place behind the throne. The other 
two violets stand one on each side of the arch at left. 
jack-in-the-pulpit and Indian pipe enter, strutting 
solemnly. As they reach the centre of the stage they 
part. Each stands silently while the other speaks.) 

JACK-IN-THE-PULPIT 

(With great solemnity and pompousness) 

Sometimes I grow weary of standing about 
And long to be gay like the rose-buds and shout; 
But my duty is plain; I must stand stiff and straight. 
I’m the judge of the flowers; I tell them their fate, 
For Jack-in-the-Pulpit’s the Law of the Clan. 

I’m wisdom itself. I’m the Queen’s right hand man. 

BILL 

That’s what I’d call boasting! 

TOADSTOOL 

Be careful. If you were a wise boy you’d flatter 
him. He’s the Queen’s chief adviser. 


The Kingdom of the Rose Queens 65 


BILL 

I’m not afraid of the Queen. 


POISON IVY 

Sacrilege! 

INDIAN PIPE 

{Shyly) 

I’m a slender little fellow and I’m very shy. 

You’d scarcely even notice me when you are passing by. 
But when the mighty Indian sat by his wigwam door, 
With squaws and little Indians all fighting on the floor, 
He’d pick me up and wave me, then cry in loud tones, 
“Cease!” 

“Come, wives and little children. Come, smoke the 
Pipe of Peace!” 

{There follows a few steps of grotesque dancing, 
after which jack-in-the-pulpit and toadstool take 
up their places at opposite sides of the stage, while 
trilium and arbutus whirl in, fluttering in circles 
about them. They finally come to rest at the center 
of the stage.) 

TRILIUM 

{With a few whirls of her drapery) 

I’m not so gay as Orchid, 

I’m not so sweet as Rose; 

But I’m whiter far than Lily, 

As everybody knows. 

Yes! I’m purest white in spring-time; 

But have you ever seen 
My shining summer berries— 

Blood-drops on the green? 


66 


The Magic Sea Shell 

ARBUTUS 

{Shyly hiding her face in her scarf ) 

I’m the tiny sweet arbutus, 

I blossom in the spring 
Down among the damp leaves 
Wet and shivering. 

But though I’m very humble 
And do not take much room, 

The Fairy Queen has given me 
Her favorite perfume. 

(ARBUTUS, TRILIUM, INDIAN PIPE and TOADSTOOL 
dance a minuet. After the dance, there is another 
blare of trumpets and the march is played again. The 
queen and her court enter. She is preceded by wild 
orchid and wild aster, each holding up a flower¬ 
decked wand. She is a most simple and beautiful 
young lady. She walks quietly but with not too great 
dignity to the throne. She sits. The flowers kneel.) 

JACK-IN-THE-PULPIT 

All honor to Queen Wild Rose! 

QUEEN WILD ROSE 

How fares my noble Judge to-day? 

JACK-IN-THE-PULPIT 

I am well, Your Majesty, but alas! There are those 
of your subjects who are not so well. They come seek¬ 
ing your aid. 

QUEEN WILD ROSE 

Let any member of the forest flower kingdom come 
forward. Good Jack-in-the-Pulpit, sit at my right. 


The Kingdom of the Rose Queens 67 

JACK-IN-THE-PULPIT 
Come forward, Purple Wood Violet! 

(The purple wood violet appears from behind a 
stone.) 


PURPLE WOOD VIOLET 

Your Majesty! 

QUEEN WILD ROSE 

Speak, little one! 

PURPLE WOOD VIOLET 

(Pointing to bill, tremblingly ) It is he! That 
frightful creature dressed in brown! He dug up my 
sister with a spade and carried her away to plant in a 
garden. Imagine, your majesty, from the forest to a 
silly garden. (Weeping.) I am lonely. I miss my 
sister. Oh, oh, Your Majesty! 

QUEEN WILD ROSE 

(Looking at bill) He seems harmless. 

BILL 

(Vehemently) I am harmless. 

POISON IVY 

(Hissing at him) Don’t speak until you’re spoken 
to, churl. 

BILL 

What’s a churl? 

JACK-IN-THE-PULPIT 

(Majestically) Must I always be saying “Hush” to 
you? 


68 


The Magic Sea Shell 

BILL 

I don’t mind if you do! 

QUEEN WILD ROSE 

(i Sweetly but firmly ) Silence! And what do you 
wish from me, Purple Wood Violet? 

PURPLE WOOD VIOLET 

Punish him! 

FIRST YELLOW VIOLET 

Oh, yes, Your Majesty, he threw his hard old base¬ 
ball at us! 

THREE VIOLETS 

Punish him. 

WILD MORNING GLORY 

(.Running from behind a tree ) And he picked some 
of us! Then when he found that we wilted quickly, 
he threw us into the hot dusty road. Punish him, 
Your Majesty. 

ALL 

(.Solemnly ) Punish him, punish him! 

WILD POPPY 

(.Running in waving a flaming scarf) He stepped 
on me the other morning when I was still a bud, and 
I’ve never been really strong since. Punish him, 
Queen. Oh, punish him! 

ALL 

Punish! Punish! 

BILL 

I don’t know what they mean! Besides, I’m not 
afraid of any of you—you’re just flowers. 


The Kingdom of the Rose Queens 69 



“l AM RAYS CAUGHT FROM SHOOTING STARS. CATCH ME IF 
YOU can!” 





















The Kingdom of the Rose Queens 71 


{Angrily) Oh! 


ALL 


BILL 


But Queen Wild Rose, you are very beautiful. I 
wish that I could take you home with me. 

QUEEN WILD ROSE 

{Smiling) For your garden, oh, prisoner? 

BILL 

Oh, NO! To play games with me! 

QUEEN WILD ROSE 

He seems a nice being. Perhaps we could turn 
him into a flower. 


ALL 


NO! NO! 


BILL 

Please, please don’t do that! 

POISON IVY 

He must be severely punished! 

QUEEN WILD ROSE 

What is my noble judge’s opinion? 

JACK-IN-THE-PULPIT 

{Deliberately) Severe punishment is my answer, 
O Queen! 

QUEEN WILD ROSE 

But he is so nice! 

BILL 

Thank you! Thank you! Beautiful Queen! 


72 


The Magic Sea Shell 

QUEEN WILD ROSE 

{Sternly) However, I must abide by the opinion of 
Judge Jack-in-the-Pulpit! What punishment would 
you suggest, littie Purple Wood Violet? 

PURPLE WOOD VIOLET 

{Dancing a jew steps ) In the center of the wood 
there is a black pool. High trees grow about it, golden 
flowers float upon it, silver mosses dip into it, and the 
sky is so high above it that only one tiny ray of sun¬ 
light is reflected in its dark surface each day. 

BILL 

OOOOoo! Sounds cold. 

POISON IVY 

You’d better be respectful, young man. 

PURPLE WOOD VIOLET 

Send him down into this pool. Send him down 
where great black mysterious witch flowers can bend 
him and break him. Send him down there! 

WILD POPPY 

{With a hop ) Pleigh-ho! Turn him into a water 
drop and throw him into the white foam of the brook. 
Then he’ll be lost indeed! 

WILD MORNING GLORY 

Smother him with dandelion down! 

FIRST YELLOW VIOLET 

Prick him with thorns! 

QUEEN WILD ROSE 

Have you any choice of punishments, oh, brown 
person? 


The Kingdom of the Rose Queens 73 

BILL 

If you have thorns, O Queen, let me be pricked with 
the thorns of the lovely Wild Rose. 

POISON IVY 

Impudence! 

TOADSTOOL 

For shame! 

QUEEN WILD ROSE 

He speaks soft3y and well, this brown creature. 
Have you nothing to say in defence of yourself? 

BILL 

Oh, yes! A lot! 

JACK-IN-THE-PULPIT 

Why should he be allowed to speak, O Queen! 

QUEEN WILD ROSE 

He shall be granted the privilege of the free people 
of the forest flower land. He shall defend himself. 
Release him. Let him stand before me. 

BILL 

(They loose kim. He bows low ) First of all, I 
love flowers! (Cries of u No! No!” u Ho! Ho!”) 

QUEEN WILD ROSE 

Silence while he speaks. 

BILL 

Every morning before breakfast I work in my gar¬ 
den. It is a fine garden with paths of gravel and well- 
arranged beds. I do not let weeds grow in my garden! 
(He looks at poison ivy.) 


74 


The Magic Sea Shell 

POISON IVY 

{Angrily) Shall he be allowed to call me a weed, 
O Queen? 

QUEEN WILD ROSE 

{To bill) Go on! 

BILL 

I am sorry that I took Purple Wood Violet’s sister 
away; but she was so lovely and she looks so well 
where I have planted her. I have tended her carefully. 
{Murmurs of disapproval.) I am sorry that I have 
treated the forest flowers so badly. I have picked 
them. I did throw the Wild Morning Glory in the 
road and I did step on the Poppy bud; I didn’t under¬ 
stand before. I didn’t know that flowers would mind. 
If you will only let me go, I promise never, never 
to do such cruel things again. {He kneels.) For¬ 
give me, O Queen! 

QUEEN WILD ROSE 

You have heard him, my flowers. What think you? 

ALL 

Punish him! Punish him! 

{Here there is a burst of music , and with great 
speed , tulip, lily of the valley, pansy and crocus 
rush in. The first flowers recognize them and mur¬ 
mur angrily, queen wild rose rises from her throne.) 

QUEEN WILD ROSE 

What does this mean? Who are you? 


I am Tulip. 


TULIP 


The Kingdom of the Rose Queens 75 

LILY OF THE VALLEY 

I am Lily of the Valley! 

PANSY 

I am Pansy! 

CROCUS 

I am Crocus! 

TULIP 

We are Guard of Honor to Her Majesty, Queen 
Garden Rose, and she has sent us here to rescue the 
young master of our garden, who now kneels before 
you! 

POISON IVY 

Ah, ha! Your Majesty! Right in our power. Let 
us take them prisoner along with their wicked young 
master. 

QUEEN WILD ROSE 

They have come on a mission of peace! 

PURPLE WOOD VIOLET 

But, your majesty, think of the times they have 
planted us in their gardens. Now we can plant them 
in the forest. 

QUEEN WILD ROSE 

You may go unharmed, Guard of Honor; but we 
cannot give up our prisoner, who has seriously offended. 

BILL 

But what are you going to do with me? 

(There is a sound of trumpets and gay music. Two 
trumpet flowers march through the flower 'arch at right. 
They carry swords .) 


76 


The Magic Sea Shell 

TRUMPET FLOWERS 

Make way for Queen Garden Rose and her army I 
(There is panic among the forest flowers.) 

JACK-IN-THE-PULPIT 

Where is our army? Call the army! What has 
become of the army? 

QUEEN WILD ROSE 

Be calm. We shall need no army. 

BILL 

Now, don’t you wish .that you had let me go! 

POISON IVY 
I can still poison you! 

(queen garden rose enters haughtily, followed by 

HOLLYHOCK, HOT-HOUSE ORCHID, GARDEN ASTER and 
GARDEN VIOLET, GARDEN POPPY, GARDEN MORNING 

glory, house ivy and hot-house mushroom. They 
march by twos, bearing lances and swords wound with 
flowers, and a banner of deep red roses.) 

FIRST TRUMPET FLOWER 

(As they stand massed behind queen garden rose 
at right of stage) Halt and salute your Queen. ( They 
salute and kneel.) What is your pleasure, O my 
Queen? 

QUEEN GARDEN ROSE 

O Queen Wild Rose of the Forest and Meadowlands, 
you have as your prisoner my young master. I de¬ 
mand his immediate release. Otherwise I shall fight 
you and your subjects most bitterly. A large army 


The Kingdom of the Rose Queens 77 

of Snap-Dragons and Sweet Peas awaits my call to 
arms. 


QUEEN WILD ROSE 

Ours is an old enmity; yet we have never sought 
battle. 


QUEEN GARDEN ROSE 

I do not wish to fight. Will you release the pris¬ 
oner? 

BILL 

(.Looking at them both breathlessly) I cannot decide 
which is the more beautiful. 


Flatterer! 


POISON IVY 


BILL 

{Peevishly) What’s a flatterer? 


QUEEN WILD ROSE 

Your courtier is not unpleasant, Queen Garden Rose. 


QUEEN GARDEN ROSE 

So I have known, Queen Wild Rose. Will you re¬ 
lease him? 

JACK-IN-THE-PULPIT 

It is against my advice. {Cries of “War! War!”) 

QUEEN WILD ROSE 

For once, O Wisest of Judges, you advise ill. On 
one condition, I release him, O Queen of the Garden. 

QUEEN GARDEN ROSE 


And that is? 


78 


The Magic Sea Shell 

QUEEN WILD ROSE 

—that from henceforth we shall be friends. 

QUEEN GARDEN ROSE 

If it is your wish, O Sister of the forest and meadow- 
lands. 

BILL 

(Jumping up) Thank you! Thank you! Thank 
you! 

POISON IVY 

We should have poisoned him! 

QUEEN WILD ROSE 

Come—let us sit here together, while our subjects 
make merry with songs and dancing. Let the honey¬ 
suckles bring us cups of dew and honey. Strike up 
the music! 

(queen garden rose sits beside her. Two Wild 
Honeysuckles and Two Garden Honeysuckles bring in 
golden cups. They pass them around. The flowers 
dance, wild flowers with garden flowers. Suddenly 
queen wild rose raises her hand.) 

QUEEN WILD ROSE 

Hush, it is the Foam-Flower! 

(A tempestuous rush of music and the foam 
flower dances madly into the space. Against the 
brilliance of the flowers, she is a striking figure of 
white.) 

THE FOAM FLOWER 
I am spume from the sea, 

I am fluff from the clouds, 


The Kingdom of the Rose Queens 79 

I am rays caught from shooting stars. 

Catch me if you can! 

I am swiftness and light, 

I am youth and desire, 

I am madness and daring and speed. 

Catch me if you can! 

(.She dances, at first slowly, then faster and faster. 
Gradually the flowers are lured by her motions to catch 
her. She eludes them. The stage becomes a riot of 
flying figures, until at the close she leads all except 
the two queens, the yellow violets and the trumpet 
flowers away. On the throne at the back they form 
a tableaux.') 

BILL 

How beautiful! What a nice dance! (None of the 
flowers either move or speak.) Why don’t you speak 
to me! {They remain silent.) I must be dreaming. 
No—here’s my ball. {He discovers sally, who has 
been lying under a bush asleep.) Oh, here’s another 
flower, and how lovely! {He touches her.) 

SALLY 

{Waking) Who are you? 

BILL 

Oh, just a boy! Are you a lily? 

SALLY 

How absurd. I live next door. 


You’re a little girl? 


BILL 


80 


The Magic Sea Shell 


Of course! 


SALLY 


BILL 

Oh! Fine! Come on! Let’s go home and play 
games. Even if those Rose Queens are so proud. 


SALLY 

I’ll have to ask mother. 


BILL 

(Seizing her by the hand) Well, let’s ask her, then! 
(They run off. To slow and stately music the two 
Queens and their escorts dance. Bowing low at the 
center, they leave the stage, queen wild rose through 
the left arch, queen garden rose through the right.) 


Curtain 


THE MAGIC SEA SHELL 

A Play for the Sea Shore 
(for Howard Malcolm Baldridge, Jr.) 


CHARACTERS 

The Boy and Girl 



ANNE 

A girl of from twelve to sixteen years. She should be 
able to read well and to give life and vividness to her 
recital. Her part is, of course, very long, which means 
that she may have to read it, instead of memorizing it. 

BOB 

A boy of from eight to ten, preferably a good swimmer. 

82 





























Characters 


83 


The Story People 

THE OLD MAN OF THE 
SEA 

He is the conven¬ 
tional gentleman of the 
story books, with long 
hair, trident, and drap¬ 
eries of white stuffs and 
sea weeds. 

THE MERMAID, HIS 
DAUGHTER 

A beautiful maiden 
with long golden hair. 

She wears a tight green 
bodice, and a sheath of green and silver resembling a tail. 
She reclines most of the time, but her legs are free so that 
she can walk. She is covered with pearls, pearls in her 
hair, pearls hanging from her arms. 

THE SAILOR BOY 

Dressed in a 
white navy uni¬ 
form. 

"THE OCTOPUS 

A boy with a 
tight black suit 
and many wired 
and flopping ten¬ 
tacles which can 
be made to bob 
about by move¬ 
ments of the hands. 























84 


The Magic Sea Shell 

THE HORSESHOE CRAB 

A small boy, whose back is covered by a large flat shell. 
He crawls on his hands and feet. When he does rise, the 
shell remains on his back, and his body is covered with 
wired legs. 


THE SHARK 

A fantastic rep¬ 
resentation of the 
monster. A long 
wired tail acts as 
the back of his 
coat. A fish head 
with sharp jaws 
and white teeth 
serves as hat. 



/ ; 


THE FLYING FISH 

From two to six boys. They are in vari-colored tights. 
Their headdresses are fish heads. Their arms are covered 
with flowing muslins in the shape of fins. 


THE SEA ANEMONES 

From two to six girls in brightly colored dresses with 
wired petals sticking out from their waists. 








THE MAGIC SEA SHELL 


Scene: A dock at the edge of a pool , lake, or on the 
sea shore. It is overgrown with weeds and sand 
flowers. The back drop for the play is the water. 
The audience sits above upon the beach, the story 
people are hidden under the edge of the dock and 
appear by climbing steps or a ladder. The play can 
be given quite as well indoors , or on a lawn y in the 
latter case by pretending that the grass is water. 
That y s not too much to ask of friendly observers. 
anne and bob, in bathing suits , are playing about 
among their friends of the audience. When it is 
time for the action to commence , they run down to 
the edge of the dock with shouts. 

ANNE 

(Putting her toe in the water ) Oo! It’s cold! 

BOB 

You’re afraid! You’re afraid! Watch me! (He 
dives from the dock.) 

ANNE 

(Wading in a little way) I’m not afraid. 

BOB 

(Scrambling up onto the dock) See, Anne, what I’ve 

found. It’s a beautiful shell. 

85 


86 


The Magic Sea Shell 

ANNE 

(Bending over) There’s something written on it. 

BOB 

M-a— Oh, Anne, it says “Magic”! 

ANNE 

(.Putting it to her ear) Sounds funny! It sounds like 
music and voices. 


BOB 

(Taking it as she offers it) Let me see if / can hear. 
(He listens) Naw! Guess it’s for girls. You listen 
again. 

(anne sits down near the edge of the dock, bob 
sits beside her. She puts the shell to her ear. As she 
does so, there is a burst of music, and at the end of 
the dock there is slowly raised a large hollow shell, 
forming an entrance for the characters, as in the old 
miracle plays.) 

ANNE 

Bobby, it’s true! It is a Magic Shell. It is singing. 
Do you hear? There is the sound of dancing, too. 
What does it say? Oh, Bobby, it says, “I am going 
to tell you, Anne, the story of ‘The Mermaid and the 
Little Sailor Boy.’ ” Once upon a time— 

BOB 

(Interrupting) You’re pretending, Anne. 

ANNE 

(Crossly) Hush! You might break the spell! . . . 
Once upon a time there was a beautiful Mermaid, with 
long golden hair— (anne speaks more slowly . As she 


87 


The Magic Sea Shell 

does so, the mermaid enters through the shell . She 
carries a golden comb and a mirror and suits her ac¬ 
tions to the slow reading of the story*) Yes, it was 
beautiful hair; but it was annoying. Every morning 
she arose very early before the lobsters had even 
thought of stirring their claws, and, lifting her golden 
mirror in one hand and her golden comb in the other, 
she looked at herself, and said— 

BOB 

See, Anne, she’s going to speak! 

THE MERMAID 

(As she combs her hair ) 

“They tell me hair’s a splendid thing, 

They tell me mine’s like gold, 

They tell me ladies envy me, 

The very young and old; 

“But in the early morning light, 

When I arise at home, 

And all the little snarls and curls 
Go hunting for my comb, 

“I don’t believe that hair’s a prize, 

A beauty or a joy. 

Alas, it’s hard to be a girl! 

I wish I were a boy.” 

BOB 

Aha! Sensible people, mermaids! 

* From then on the story people adapt their pantomime to 
Anne’s telling of the tale. When they can act as she talks, 
they do. When it is necessary for her to pause, she does, until 
the action indicated by her previous sentence is complete. 


88 


The Magic Sea Shell 

ANNE 

Hush! ... So the little Mermaid combed her hair. 
Every morning as she was performing her elaborate 
toilet, putting on her long strings of pearls and looking 
at herself, not once but again and again in her golden 
mirror, her father would come to speak with her. Her 
father was the Old Man of the Sea. (the old man of 
the sea struts on.) He was a proud fellow, was her 
father, and as proud of his own long beard as he was 
of his daughter’s hair. Every day he walked to and 
fro, to and fro, along the bottom of the ocean, looking 
for troublesome blackguards at whom he could shake 
his fist; for he, you know, was the policeman of the 
sea. Haven’t you ever heard him blow his whistle 
just before a storm? Every morning, shaking his finger 
strenuously, he would warn the little Mermaid against 
that wicked villain, the Shark. He would tell her 
never, never to open the door to strangers while he was 
gone, walking to and fro, to and fro, along the bottom 
of the ocean. Then he would kiss his daughter sol¬ 
emnly, first on one cheek, then on the other, and, shak¬ 
ing his finger one last time, go off to his daily task like 
any respectable father of a family. 

BOB 

Doesn’t he look like Dad, though—just the way he 
shakes his finger. 

ANNE 

Do be quiet! . . . After her father had gone the 
little Mermaid was oh, so very sad. She folded her 
hands in her lap. She looked at herself in the mirror 


The Magic Sea Shell 89 

again. She folded her hands in her lap again. It was 
sad to be all alone. Suddenly she hid her head in her 
arms and started to cry. There came a knock at the 
door. She started. There was another knock. She 
arose from her reclining posture. Who could it be? 
Should she open the door? She pondered. How dull 
it was alone. She would open the door. ( Slowly and 
solemnly) She opened the door against her father’s 
wishes. (Quickly and brightly) Then in came a figure 
in a long silver cape, (the shark enters.) It stood 
there, bowing and bowing and bowing. (A pause. 
Then in tones of horror) How could the poor little 
Mermaid know that the beautiful silver cloak hid the 
greatest villain in all the ocean kingdom. It was— the 
Shark! 


BOB 

How terrible! Let’s warn her! 

ANNE 

You’re always interrupting, silly. It would break 
the spell. . . . The Shark stood there saying a pleas¬ 
ant, “Good morning,” and talking about the weather 
as if he were a very hero instead of a wretched villain. 
He told her, with his hand upon his heart, how much 
he admired her. This he told her seven times, bowing, 
bowing, bowing, bowing, bowing, bowing, bowing! 
Then he bowed himself out, but not before he had 
told her that he would return shortly. ( A pause , and 
in tones of horror) Alas, the poor little Mermaid! 
She did not know what was in store for her. 


90 


The Magic Sea Shell 

BOB 

It seems to me that even though she is pretty, she’s 
very, very stupid. 

ANNE 

That’s not polite. 

BOB 

I’m sick of being polite to people just because they’re 
girls. 

ANNE 

I suppose you will talk. . . . For a time the little 
Mermaid was gay. She waved her arms. She smiled. 
She waved her arms again. Then she heard another 
knock. This time she hurried to the door. In ran 
the Octopus, (the octopus comes running in .) He 
rushed hither and thither, then he rushed hither and 
thither again. He put his hands to his head in despair. 
Then he raised his head and, giving the little Mermaid 
a pitiful look, said— 

THE OCTOPUS 

“I’m an octopus, and really in distress. 

You don’t know how octopuses feel, I guess. 

I don’t like so many hands, 

For no one understands 

How to fit them in a jacket, suit, or dress. 

“There is only just one time when it’s a treat 
To have countless hands, or you can call them feet. 
When I sit before a table 
Piled with dinner, I am able 
With the utmost greed to seize the food and eat!” 


91 


The Magic Sea Shell 

BOB 

That’s what I call bad manners! 

ANNE 

I presume, sir, that octopuses are not supposed to 
have manners. Besides, the plural of octopus is oc- 
to pi. 

BOB 

The Octopus ought to know his own name! He 
said octopuses! 

ANNE 

He ought to know; but apparently he doesn’t. ( Lis¬ 
tening to the shell again) The Octopus took out his 
red bandanna handkerchief from a secret pocket, 
wiped the tears from his eyes, and wrung the hand¬ 
kerchief violently, until there was a pool of water, salt 
water, too, before him«on the floor. Then he besought 
the little Mermaid with agitated motions, which he 
made with many of his feet, to hide him. The Shark, 
he told her, was running wild through the ocean, look¬ 
ing for victims. Alas! How the Octopus trembled, as 
he thought he heard someone coming. The little Mer¬ 
maid smiled sympathetically at him, patted him on the 
back, and told him to stand quietly in a corner, where 
she had no doubt that he would be quite free from 
harm. He had no more than reached his corner when 
there came another knock at the door. Again the little 
Mermaid rushed to open it. In crawled the Horseshoe 
Crab, (the horseshoe crab enters.) He, too, was 
trembling violently. He raised himself slowly on his 
hind claws and bowed. Wiping away a tear, then, he 


92 


The Magic Sea Shell 

sank again to the floor. The little Mermaid wrung 
her hands. She would have liked to comfort him. 
After a moment, he arose and began to dance mourn¬ 
fully, first on one claw, then on the other. He looked 
so funny that the little Mermaid laughed. She tried 
to be polite; but he did appear ridiculous. He did 
not stop dancing but shook a claw at her reprovingly, 
as he said— 

THE HORSESHOE CRAB 

“They say the lonely hermit crab 
Is very melancholy; 

But to claim that I’m not sadder 
Is folly! 

“How very hard indeed I’ve tried 
To romp with Jane or Molly, 

But, alas, I fear I cannot 
Be jolly!” 

BOB 

Silly, I call him. Doesn’t he even play baseball? 

ANNE 

Don’t interrupt him. He’s just a crab, and he’s 
really having a fine time. 

BOB 

That’s not what I call a fine time. 

ANNE 

Are you a crab? (bob jumps up. She motions him 
to be still.) The little Mermaid patted the Horseshoe 
Crab’s back again, and then again, and still again. 


93 


The Magic Sea Shell 



THERE WAS A SHOUT OF “HOLD THERE! SHIP AHOY!” 































The Magic Sea Shell 95 

Presently he confessed to her, waving his claws nerv¬ 
ously, that he, too, was running away from the Shark. 
He doubled up his claws and assured her that in single 
combat he was unafraid of anyone. Nodding his head, 
however, he acknowledged that it would be wise for him 
to hide, so the little Mermaid carefully showed him just 
where to stand quietly in a corner opposite the one in 
which the Octopus was standing. No sooner was the 
Horseshoe. Crab in his corner than there was a burst 
of music and, without waiting to knock, a company of 
gay Flying Fish fluttered in. (the flying fish come 
in, dancing.) They surrounded the little Mermaid, 
waving their fins at her, and dancing about her. After 
they had danced for a time they knelt in a circle around 
her, beseeching her to hide them from the Shark. Just 
as she raised one fair hand to address them, another 
strain of music sounded and a group of Sea Anemones 
tripped in, looking behind them in terror, (the sea 
anemones enter as indicated .) When they saw the 
Flying Fish, they forgot their worries for a moment. 
They said “How do you do?” and then danced. . . . 
As they finished dancing, the little Mermaid clapped 
her hands in joy. They then knelt in two circles about 
her, beseeching her to hide them from their terrible foe. 
Just as she was about to answer them, there appeared 
in the doorway, disguised in his silver cloak, the Shark 
himself, (the shark appears.) As he said “Good 
morning, again!” the Mermaid waved her beautiful 
hand at him. The Shark, taking one look around, saw 
that he had been successful in his wicked plan. His 
victims were ready. “Aha!” he shouted. And, throw- 


96 


The Magic Sea Shell 

ing off his cloak, he leaped toward the little Mermaid. 
There was noise and confusion. The Flying Fish and 
the Sea Anemones ran around and around in two cir¬ 
cles. The Octopus tried to attack the Shark; but was 
thrown on the floor. The Horseshoe Crab ran toward 
the door. The Shark had the little Mermaid in his 
arms when there was a shout of “Hold there! Ship 
ahoy!” and the Sailor Boy, a bowie knife in his hand, 
stood at the door. (Enter the sailor boy.) Even the 
Shark was terrified. No one moved. The Sailor Boy 
addressed them in stern tones— 

BOB 

Don’t you think he looks like me? 

ANNE 

Of course not, he’s very good looking. 

BOB 

( Threatening ) I’ll— 

ANNE 

Hush! 

THE SAILOR BOY 
“Oh, I am a jolly sailor boy, 

Ship ahoy! Ship ahoy! 

And here, I see there’s a damsel needing me, 

Ship ahoy! Ship ahoy! 

So beware my knife, and run for your life, 

For sailor boys don’t tarry, when they fight 
or when they marry, 

And I, as I said before, 

When I first stepped through the door, 


97 


The Magic Sea Shell 

I am, I am, 

Ship ahoy! Ship ahoy! 

A jolly, jolly jolly, 

A jolly, jolly jolly, 

THE STORY PEOPLE 

He’s a jolly, jolly, jolly, 

A jolly, jolly jolly, 

THE SAILOR BOY 
I’m a jolly sailor boy!” 

ANNE 

Then the Sailor Boy leaped forward. He seized the 
Shark by his tail; but that villain lashed about des¬ 
perately, first to one side, then to the other, while 
everyone else, including the little Mermaid, cowered 
in the corners, shrieking with terror. After a terrific 
struggle, the Sailor Boy put the Shark down upon the 
ground. He was just about to stab him with the bowie 
knife, when the little Mermaid ran forward. She 
asked the Shark if he would promise never to eat 
anything but vegetables again. He wept—and prom¬ 
ised! So, taking him by the tail, the Sailor Boy 
dragged him to the door and put him out! 

BOB 

He should have killed him. 

ANNE 

You are a cruel boy. 


So are sharks cruel. 


BOB 


98 


The Magic Sea Shell 

ANNE 

Never mind. This was a better shark than some 
I have known. . . . Then there followed much rejoic¬ 
ing and dancing. In the midst of which the Old Man 
of the Sea came home. The little Mermaid rushed to 
his arms. When he had heard the story, he clapped 
the Sailor Boy on the back and said, “Why don’t you 
marry my daughter?” At this remark the Sailor Boy’s 
face glowed and he danced a sailor’s hornpipe. All 
joined in the dance. After they had made sufficiently 
merry, the Old Man of the Sea said, “We must to the 
minister—the wedding and no delay!” And all 
shouted, “The wedding and no delay!” Whereupon 
they all marched off to church to the well-known strains 
of the wedding march. 

(Exeunt the story people through the shell. It 
disappears, anne and bob are left, looking at the 
Magic Shell.) 

ANNE 

Shall we keep it? It’s magic, isn’t it? 

BOB 

Naw! You made up all that silly story yourself. 

ANNE 

Didn’t you see them? 


BOB 

Naw! I was only pretending. 

ANNE 

I guess you don’t know what you see and what you 


The Magic Sea Shell 99 


don’t see. (She throws the Shell out into the water) 


There! * 


BOB 


Let’s swim for it! (They dive and swim out toward 
the open sea.) 

* The play may end here if the director chooses, zvith anne 
and bob looking out after the Shell for a moment, then running 
back and joining the audience. 


Curtain 










GRANDMOTHER DOZES 


A Play for a Winter Evening 
(for Donald Crane) 


CHARACTERS 


GRANDMOTHER 

She is quaintly costumed with white hair, white cap, a 
shawl. She carries her knitting in an old-fashioned bag. 



TOM 

A little boy of eight dressed in or¬ 
dinary knickerbocker suit. 

JANE 

A little girl of ten dressed in ordi¬ 
nary house dress. 


THOMAS 

A little boy of eight dressed in black 
velvet with lace collar. 

JANET 

A little girl of ten dressed in a much 
ruffled white dress with elaborate rib¬ 
bons. 

CHILDREN AT THE PARTY 

They are dressed like Thomas and Janet except for dif¬ 
ferent colored ribbons on the girls’ dresses. There may be 
any number of couples. I should suggest from two to 
eight. They may vary in age. (See page 109.) 



102 







GRANDMOTHER DOZES 


Scene: The end of a library, preferably with a fire¬ 
place. grandmother enters slowly. She sits in a 
great rocking-chair by the fire. She knits. Soon her 
head nods over her work. There is silence for a 
moment, then the soft strains of an old-fashioned 
polka are heard, janet appears in the door. She 
tiptoes to the center of the room and stands there 
shyly, thomas stands in the door. He carries a 
bouquet of flowers. He bows formally, janet 
smiles and turns away her head. He crosses the 
room, bows again and presents the bouquet. She 
accepts it, with a curtsy. Shouts in another room 
of the house startle them and they run away, tom 
and jane enter with a rush and shouting. 

TOM 

JANE 

(i Speaking at the same time) Where are the scissors? 
Oh, Granny, have you seen the scissors? 

(They stop, suddenly, seeing that grandmother is 
asleep, with cries of u Ssh! Sshl”) 

GRANDMOTHER 

(Awaking. She feels for her knitting needles and 
starts to knit.) All right, dears, what is it? I was just 
dreaming a bit. 


103 


104 


The Magic Sea Shell 

JANE 

(Coming over to grandmother’s chair ) We can’t 
find the scissors, Grandmother. Have you see them? 

GRANDMOTHER 

No, dears, I haven’t. 

TOM 

(.Sitting at grandmother’s feet) Never mind the 
scissors, Jane, let’s ask Granny to tell us a story. 

JANE 

Oh, Granny! Please, please do! Tell us how the 
seven little frogs found the man in the moon. 

TOM 

Yes! Yes! Granny, please, please tell us a story 
—only —not that one! I want to hear about Jo-Jo, the 
terrible man-eating monkey. 

JANE 

(Angrily) Don’t be stupid, Tom! Who wants to 
hear about a man-eating monkey! 

TOM 

I do! Tell us, Granny, tell us! 

JANE 

The seven frogs, Granny, the seven frogs! 

TOM 

Jo-Jo, Granny. Jo-Jo! 

JANE 

Keep still! 


I won’t. 


TOM 


Grandmother Dozes 

JANE 


105 


You will. 

TOM 

I won’t. 

JANE 

You’re a selfish boy! 

TOM 

You’re a selfish girl! 

GRANDMOTHER 

Children! Children! Is that the way to ask Granny 
to tell you a story? 


TOM 

{Sulkily) Well, no; but, Granny, she is selfish about 
stories. People always do as she says. It’s because 
she’s a girl. It isn’t fair. 

JANE 

Don’t be foolish. Have your old Jo-Jo story if you 
must. I’m sorry, Granny. Please tell us a story, any¬ 
one you choose! 

TOM 

Yes, Granny, anyone you choose! 

GRANDMOTHER 

Well, dears, I was just dreaming about when I was 
a little girl and your grandfather came to a party at 
my house. 

TOM 

What did you call Grandfather then, Granny? 


106 


The Magic Sea Shell 

GRANDMOTHER 

Thomas, my dears. 

JANE 

And what did he call you, Granny? 

GRANDMOTHER 

Janet, my dears. In those days we were always 
polite. We did not quarrel, my dears; for those were 
the days of chivalry. That a lady was a lady was 
enough reason for giving her anything she wished. 
That she was a lady meant that what she wished most 
was to please her guests, or her brother, or her father 
or her mother. 

TOM 

Didn’t you ever have any fun, Granny? 

GRANDMOTHER 

Of course, my dear, we always had good times. It 
was a good time for us just to be little ladies and 
gentlemen. 

JANE 

Didn’t you ever quarrel, Grandma? 

GRANDMOTHER 

Little ladies and gentlemen never quarrel, my dears. 
Now, I remember, one day, my mother gave me a 
birthday party. All the little boys and girls of the 
neighborhood were there. We sang songs and played 
games. Everyone was happy. Your grandfather was 
a handsome boy, my dears. 

TOM 

They say that he looked like me, Granny! 


Grandmother Dozes 


107 


JANE 

Oh, oh! For shame! Do you suppose that you are 
handsome ? 

GRANDMOTHER 

He looked a little like you, Tom dear. 

TOM 

Thank you, Granny! 

GRANDMOTHER 

It was a fine party. All of us, behaving like little 
ladies and gentlemen. 


TOM 

—and no one quarreling, no bad manners? 

GRANDMOTHER 

Of course not, Tom. I wish that you could have 
seen us dance the polka, the waltz and sometimes an 
old-fashioned minuet. 


TOM 

I don’t like to dance! 


JANE 

I do! I do! 

GRANDMOTHER 

Your grandfather was very, very handsome when he 
danced, Tom dear! 

TOM 

Well—perhaps I shall learn some day. It seems 
better for girls, though. 


108 


The Magic Sea Shell 

JANE 

You’re always saying annoying things about girls. 
I think you’re horrid. 

TOM 

(. Belligerently ) Well! 

JANE 

{Just as belligerently ) Well! 

GRANDMOTHER 

Children! Children! Remember—little ladies and 
gentlemen never quarrel. 

{Mother’s voice, calling, “Tom. Jane. Come here, 
please.”) 

TOM 

I guess they’d quarrel if they had a sister like Jane! 

JANE 

{As she and Tom go) Oh! 

(grandmother sits alone by the fire knitting. Soon 
her head starts to nod again. She sleeps. The strains 
of the polka are heard as before. The same pantomime 
between thomas and janet is repeated, ,4 s she curt¬ 
sies, another little girl appears in the door, followed by 
her young attendant. They curtsy and bow to janet 
and thomas, who, in turn, curtsy and bow to them. 
One after the other, the couples appear and go through 
the same motions of greeting, then stand in various 
parts of the room, talking in pantomime. They dance 
a polka. They then separate, the little girls sitting 
coyly about the room, the little boys talking to them . 


Grandmother Dozes 


109 



“—AND THEN ONLY TO DEFEND A LADY.” 



























































Grandmother Dozes 


111 


They change partners. The music is jor a waltz. They 
dance. Here, I suggest that one couple do a jew fancy 
steps, while the others, posed in groups, watch. Again 
they separate. During this interval, two of the little 
boys find themselves talking to janet. One little girl 
is left alone, unhappy, among the cushions of a divan. 
One of the boys talking with janet is thomas; the 
other is distinguished by the fact that his suit, instead 
of being of black velvet, is of bright blue. They smile 
at janet. They frown at each other, janet picks 
a flower from her bouquet and gives it to the boy in 
blue. thomas stands stiffly, frowning and shaking his 
head, janet smiles, then gives thomas a flower. He 
smiles and bows. She curtsies. The music of a minuet 
starts, thomas bows as though he thought it was his 
dance; but janet, smiling and shaking her head, goes 
with the boy in blue, thomas offers his hand to the 
girl on the divan. They all dance a minuet. At the 
close of the dance janet drops her bouquet. The boy 
in blue stoops slowly to pick it up; but thomas is too 
quick for him. They scramble for the bouquet on the 
floor; thomas slips and falls upon it. The boy in blue 
jumps on him. They wrestle. The little girls draw 
away, frightened. The boys gather in a circle urging 
on the contenders. They fight, thomas finally seizes 
the bouquet from the floor. The boy in blue makes 
a lunge for it. He succeeds in grabbing it. The 
bouquet is beginning to be torn to pieces, janet runs 
forward. She rushes between them. The first words 
spoken by any of the characters in the pantomime are 
hers. She cries out, u Ohl Oh! Oh!” The modern 


112 The Magic Sea Shell 

children are now heard shouting and running toward 
the door . The old-fashioned children turn and run. 
grandmother, then, in her sleep, cries, “Oh! Oh! 
Oh!” She repeats it, as jane and tom run in, “Oh! 
Oh! Oh!”) 

JANE 

(Running to her chair ) Why! Granny, what’s the 
matter? 


GRANDMOTHER 

(Waking) Oh! 

TOM 

You are talking in your sleep, Granny! 

GRANDMOTHER 

Yes! I was remembering! 


JANE 

You were dreaming, Granny! 


GRANDMOTHER 

Dreaming and remembering! 


TOM 

Remembering Grandfather at the party, Granny, and 
how all your friends were little ladies and gentlemen? 


GRANDMOTHER 

Yes, remembering Grandfather at the party. 


Yes, Granny! 


TOM 


GRANDMOTHER 

Perhaps it is more important for a lady or a gen- 


Grandmother Dozes 113 

tleman to be truthful than polite, though both, my 
dears, are important. 


TOM 

JANE 

Yes, Granny! 

GRANDMOTHER 

Well, Granny must be truthful, too. I have been 
remembering. Children, I think that we did— ( She 
pauses.) 

TOM 

JANE 

Oh, Granny, what? 

Did what, Granny? 

GRANDMOTHER 

Quarrel! Sometimes, oh, only very occasionally— 
and then, of course, usually to defend a lady. 

TOM 

Like the knights of old? 

GRANDMOTHER 

Well —somewhat like the knights of old. 

JANE 

But ladies and gentlemen do sometimes quarrel. 

GRANDMOTHER 

Sometimes, my dears; but perfect ladies and gentle¬ 
men should not—and we must all try— 

TOM 

Oh, yes! I’ll try to be a perfect gentleman— 


114 


The Magic Sea Shell 


-—and lady— 

JANE 


TOM 

If you’ll only tell us a story! 

GRANDMOTHER 

I’ll tell you a story if you’ll come into the south 
room. It’s warmer there. 

TOM 

Yes! Come on! (They help her to rise and each 


takes an arm.) 

JANE 


Yes! Tell us the story of the seven little frogs and 
how they found the man in the moon. 

TOM 

No! Granny, please tell us about Jo-Jo, the man- 


eating monkey. 

JANE 


Granny. Please, my story. 

TOM 

Granny, please, mine! 

GRANDMOTHER 

(/Is they go out ) We’ll see, dears. We’ll see. 


Curtain 


BIRTHDAYS COME IN FEBRUARY 

A Play for Birthdays 
(for Eleanor Taft) 


CHARACTERS 



ICICLE 

A slim boy in white tights covered 
with silver. 

FEBRUARY 

An old man with long snowy beard 
and a robe of white covered with silver 
crystals. 


LADY FAIR 

A girl in pink robe, with long golden 
hair. She carries a heart' in either 
hand. 

LEAP YEAR BABY 

A little boy of seven or eight in a 
white suit, blue socks, and a blue hat. 

CUPID 

A semi-naked little boy who holds 
the ribbons of love lorn’s heart, a 
bow and quiver slung over his shoulder. 

LOVE LORN 

A boy in blue velvet, cavalier hat. 
He wears a large heart in which an 
arrow is fixed. Ribbons from the end 
of the arrow. 

116 




























Characters 


117 


CAVALIER 

A gay young man of sixteen in cava¬ 
lier costume. 

HIS LADIES 

Three or four girls in costumes of 
different periods. 


ABRAHAM LINCOLN 

As a boy of twelve. Backwoods cos¬ 
tume. He carries a shovel. 

GEORGE WASHINGTON 

As a boy of twelve, colonial costume. 
He carries a hatchet. 


FEBRUARY BABIES 

Three or four children in ordinary costume. They 
should be as young as possible. (See page 127.) 































BIRTHDAYS COME IN 
FEBRUARY 


Scene: High in the mountains. At back stage is a 
silver gate. A room is formed by the tops of snow- 
covered mountain peaks. Chairs and a table are 
made of snow-covered cakes of ice. This scene can 
be made by covering four or five screens with white 
cloth and sprinkling them with artificial snow. At 
rise of curtain, icicle stands in front of the silver 
gates looking out. February, sitting near the table, 
has a pile of snow-balls beside him. He is making 
more from snow which he digs up from the floor. 
He arranges them in piles like ammunition, icicle 
turns suddenly from the silver gate. His face shows 
that he is greatly disturbed. 

ICICLE 

February, sir, they are coming! I can see them in 
the mountain passes below. 

FEBRUARY 

You must be calmer. Such nervousness is unbecom¬ 
ing, My General Icicle. Turn an avalanche of ice on 
them, of course—at once—I shall have none of these 
people wishing to be born in February storming my 

castle. Why is it, General, that the unborn have such 

119 



120 


The Magic Sea Shell 

a desire to see the light of day during my reign? 
Goodness knows, it’s a chilly time to be born. 

ICICLE 

{He pulls a lever near the silver gate ) I’m sure I 
don’t know, sir. {He looks out.) Aha! That was a 
good one. See how it rolls down the mountain. That 
will scatter them, all right. Now, sir, let’s move our 
ammunition close to the gate. We shall put up a stiff 
fight. {There is a sound of shouting outside.) 

FEBRUARY 

{Alarmed, he crosses to gate) What’s that? 

ICICLE 

The cloud of snow from the avalanche is too great. 
I cannot see. Someone is approaching. 

{February reaches for a snowball, opens the gate 
a crack and throws it.) 


ICICLE 

Here! {He takes a snowball.) There’s one for you. 

{Just as February is about to fire another snowball, 
a small arm is thrust through the gate.) 

FEBRUARY 

Look out! Look out! See what’s here! 

ICICLE 

Push it out! Push it out! No one must enter here. 

{They attempt to close the gate. It is useless. The 
leap year baby succeeds in pushing its way in. They 
close the gate behind it, and it proceeds to shake the 
snow from its arms and hair.) 


Birthdays Come in February 121 

FEBRUARY 

Well, what are you doing here? I suppose that you 
want me to tell you that you can be born during my 
month. Is that it? 

LEAP YEAR BABY 

Yes, sir. Oh, please, sir, let me born on the Twenty- 
ninth of February! 

ICICLE 

Ha! Ha! Ha! 

FEBRUARY 

It wants to be born on my extra day—it wants to 
be born in Leap Year! It will have only one birthday 
in four years. Ha! Ha! Ha! 

LEAP YEAR BABY 

(.Kneeling down and holding out its arms ) Please, 
sir! 

FEBRUARY 

Very well, then, if you wish to be a Leap Year Baby 
you shall be one. However, if we allow you to be 
born in February, you must help us to defend the 
castle. 

LEAP YEAR BABY 

Oh, yes, sir! 

FEBRUARY 

(There are more shouts heard outside ) You see. 
Listen to the clatter. I have said quite plainly six or 
seven times— 


Eight times, sir. 


ICICLE 


122 


The Magic Sea Shell 

FEBRUARY 

I have said quite plainly eight times that I should 
admit no more persons to February Castle for any 
purpose whatsoever. Come. Let’s drive away the in¬ 
vaders. 

(They open the gates, load themselves with snow¬ 
balls and start to wage war with unseen foes, when 
icicle, of a sudden, laughs.) 

FEBRUARY 

Indeed this is no laughing matter! 

ICICLE 

It’s only the Valentines this time, sir, come to pay 
a party call. Will you see them? 

FEBRUARY 

Why do they always come when we are busiest? 
Just because St. Valentine’s day is in February, they 
feel that they can take advantage of me. Ah, well, 
let them come in. 

{He motions to leap year baby. They sit in the 
ice chairs at one side, icicle swings the silver gates 
wide. There is a background of silver and white. 
Posed against this is the first Valentine. On a red 
dais stands love lorn. His hand is pressed against 
the arrow-pierced heart which he wears on his breast. 
Below him, holding the ribbons which are fastened to 
the heart, stands cupid.) 

icicle 

You see, sir, it is Love Lorn again. 


Birthdays Come in February 123 

FEBRUARY 

Alas, yes! Must he always be about? 

LOVE LORN 

(Stiffly bowing) How do you do? 

(He descends from the dais and enters slowly, fol¬ 
lowed by cupid. The silver gates close after them.) 

“I am sadder than ever before. 

My fair damsel whom I so adore, 

Has refused me again 

With the utmost disdain 

And has married another, what’s more. 

“So now I am thin and forlorn. 

I weep both at night and at morn. 

Still I’ll not be content 
Till I hear the consent 
Of some lady my home to adorn.” 

ICICLE 

Have you nothing to say, Cupid? 

(cupid shakes his head, wags his fingers, winks and 
tosses the ribbons about.) 

FEBRUARY 

He is a gentleman of action, not of words! Come, 
now, take your places beside the ammunition. Love 
Lorn, I trust that you are not too sad to aid me in 
my defense against invaders. 

LOVE LORN 

Even though my heart is bursting, I can yet throw 
a snowball. 


124 


The Magic Sea Shell 

{He and cupid stand along one side of the room. 
The silver gates open again, revealing lady fair posed 
on the dais, with a heart in either hand. First she 
looks at one, then at the other. She descends from 
the dais and walks to the center of the room.) 

LADY FAIR 

“So many hearts are offered me, 

It is so hard to choose. 

I cannot tell which one to take 
Or which one to refuse. 

On Mondays I like sailors’ hearts, 

On Tuesdays soldier boys’, 

On Wednesdays I like all their hearts 
To toss about like toys. 

“On Thursdays I like kings’ hearts, 

On Fridays, engineers’, 

On Saturdays I’ll take a score 
From various careers. 

But, oh, upon a Sunday, 

To one heart I am true. 

I choose it without waiting— 

I’m quite content with YOU!” 

ICICLE 

That’s absurd! Whom does she mean? She cer¬ 
tainly can’t be talking to me. I’d freeze any young 
lady’s affection, alas! 


FEBRUARY 

She probably is talking of Love Lorn over there. 
See! He’s blushing. 


Birthdays Come in February 125 

(lady fair shakes her head solemnly, then goes 
slowly to the side of the room. Again the silver gates 
swing open. This time there is the music of a gavotte. 
cavalier stands upon the dais. In one hand he carries 
a wand which is raised high above his head. His ladies 
hold ribbons which are attached to the end of the wand. 
They are in a circle about him. He descends. They 
follow him in a row; then, slowly, with stately pointing 
of toes and sweeping steps, they do a May Pole dance 
about him, their ribbons weaving in and out. At the 
close of the dance, they kneel in two groups, one at 
each side of him.) 

CAVALIER 

(.Looking in turn at one or another of theiladies) 

“Golden hair’s attractive 
So is hair of brown. 

Black locks are most fetching 
With a scarlet gown. 

“Eyes of blue are tender, 

So are eyes of brown, 

But, oh! A pair of snapping blacks 
Above a scarlet gown. 

“Hearts are very fickle 
In city girl or town, 

But, oh! There is a heart for me 
Beneath a scarlet gown.” 

{He offers his hand to a lady with black hair dressed 
in scarlet. They take their places at the side. The 
other ladies stand about them, disconsolately .) 


126 


The Magic Sea Shell 

FEBRUARY 

Love Lorn, why can’t you entertain one of those 
beautiful ladies? 

LOVE LORN 

(Proudly) No, thank you, sir! 

ICICLE 

I really do believe that he likes to be forlorn. 

FEBRUARY 

Well! If you are going to stay here you must aid 
in the defense of my castle. It’s in a state of siege, 
you know. 

(They nod, say “Yes.” The men arm themselves 
with snowballs. Suddenly there is a loud knocking 
at the gate. All say, “Sssh!” icicle tiptoes toward 
it. February stands poised with a snowball in his 
hand.) 

ICICLE 

(,4s he peers through the gate) It’s two boys. 
They’re really very curious looking fellows. Shall I 
admit them? 

FEBRUARY 

Open the gates; stand ready, all—if they want to 
be born in February, let fly the ammunition. Shout 
well, too. We must drive them away. 

(All stand ready to do as he has ordered. Washing¬ 
ton and Lincoln stand in the doorway, george with 
his hatchet, abraham with his shovel.) 

(Laughing) Oh, it’s only George and Abraham. (All 
relax with much relief.) Come in, boys, do. We are 
always honored to see you. 


Birthdays Come in February 127 



“we.want to be born in February!” 
















Birthdays Come in February 129 

(icicle closes the gates george and abraham ad¬ 
vance together to center stage; they bow stiffly while 
several bars of the “Star Spangled Banner” are 
played.) 

ICICLE 

What can we do for you, honored sirs? 

LINCOLN 

I’ve come to ask you, please—oh, please—Mr. Feb¬ 
ruary, to do something about my shovel. Everywhere 
I go I must carry this shovel with my sums done all 
over the back. It’s very trying. 

WASHINGTON 

And I want you to take away my hatchet. Oh, if 
only I hadn’t chopped down that cherry tree! I can’t 
begin to tell you how many times I’ve repented it. 

ICICLE 

But only think—you told the truth about it. 

WASHINGTON 

That was a long time ago. Why can’t I leave the 
hatchet here with you now? No one would miss it. 

FEBRUARY 

You really think that no one would miss your shovel 
and hatchet, boys? 

WASHINGTON 

Surely, they wouldn’t. 

LINCOLN 

They would not miss my shovel. 


130 


The Magic Sea Shell 

FEBRUARY 

Very well, then, you may leave them with me until 
someone notices that they are gone. 

WASHINGTON 

LINCOLN 

(Putting the shovel and hatchet on the table) Thank 
you, thank you, February. 

FEBRUARY 

You are welcome, to be sure! We shall see what we 
shall see. Icicle—look to the gate. 

(There is the sound of children approaching, icicle 
rushes toward the gate. All take their positions with 
the snowballs as before. The February babies rush 
in.) 

ICICLE 

Fire! 

{All throw their snowballs at the babies, who dodge. 
Scrambling forward to the piles of snowballs, they 
turn fire at February’s minions. After a few moments 
of hopeless struggle February raises his hand.) 

FEBRUARY 

{In loud tones) Cease firing! {All is quiet, the 
babies stand in a group in the center of the room.) 
Well, young people, why do you invade my castle in 
this unmannerly fashion? 

THE BABIES 

We want to be born in February! 

FEBRUARY 

But you have been told that there are already too 


Birthdays Come in February 131 

many babies being born in February for five years to 
come. Will not the month of March suit your purpose 
quite as well? 

FIRST BABY 

No, sir—we want to be born in the same month in 
which they (pointing to Washington and Lincoln) 
were born. 

FEBRUARY 

Oh! 

WASHINGTON 

(,Stepping forward ) Please grant their wish, Feb¬ 
ruary. 


LINCOLN 

Yes—do, February, as a favor to us. 

FEBRUARY 

(To those grouped about the room) What think 
you? Shall we forgive them? Shall we let them be 
born in February? 

ALL 

Yes! Yes! Do! Do! 

FEBRUARY 

Very well, then. You shall be born in my month. 
Bless you, my children. 

THE BABIES 

Thank you! Thank you! 

SECOND BABY 

Oh, sir! 


132 


The Magic Sea Shell 

FEBRUARY 

« 

What is it, my child? 

SECOND BABY 

Please, sir, where is Mr. Lincoln’s shovel that he 
used for doing his sums? 

THIRD BABY 

Yes, sir, where is it? And Mr. Washington’s 
hatchet, with which he chopped down the cherry tree? 

WASHINGTON 

Alas! 

LINCOLN 

Alack! 

FEBRUARY 

(.Handing them the shovel and the hatchet ) You see, 
my children, you cannot destroy a legend. The chil¬ 
dren will never forget your shovel and your hatchet. 

FIRST BABY 

Now they look natural! 

ALL BABIES 

(Circling about Washington and Lincoln) Yes! 
Yes! Yes! 

FEBRUARY 

The finest of all my children! I salute you! 

(The silver gates swing open again, an American flag 
falls across them. Washington and Lincoln stand in 
the center before it. The others, grouped on each side, 
form a tableaux. All salute as they sing u The Star 
Spangled Banner.”) 


Curtain 


WORSHIP THE NATIVITY 

A Masque for Christmastide 
(for Emily Stewart) 


CHARACTERS 



THE NATIVITY 

At the back of the stage a figure of a 
woman, bending over the cradle. Joseph 
stands beside. 

THE CHOIR 

From six to twelve choir boys in black and 
white vestments. 


THE SHEPHERDS 

Four or five boys in skins, carrying shepherds’ crooks. 


THE WISE MEN 

The three wise men, in long cloaks, bear¬ 
ing caskets of gold and precious silks. 

The Moon , the Sun, the Stars 

THE MOON 

A tall graceful girl clothed all in white, 
with a silver crescent in her golden hair. 

THE SUN 

A stalwart youth with a gold band 
about his chest and loins, wearing a flam¬ 
ing scarlet robe and carrying a torch. 

THE STARS 

The Star of Bethlehem, a beautiful 
girl of about sixteen in silver robes. 
Six Other Stars—some blue, some red, 
134 











Characters 135 

some yellow, some white—all with bands of silver in their 
hair and silver capes. 


The Clouds, the Winds, the Rain, Light and Fire 

THE CLOUDS 

Six children in gauze dresses of gray mingled with rain¬ 
bow colors. 

NORTH WIND 

A sturdy little boy in white draperies. 

SOUTH WIND 

A little yellow-haired girl in blue draperies. 

EAST WIND 

A slim little boy in gray draperies. 

WEST WIND 

A dark-haired girl in yellow draperies. 



THE RAIN 

A girl in gray fringed robes with many crystal beads and 
ornaments. 






















136 


The Magic Sea Shell 


LIGHT 


A tall boy in silver tights, with a silver sword in each 
hand. 


EIRE 


A tall girl completely swathed in scarlet robes and dra¬ 
peries with sashes and ribbons of orange floating from her. 


The Mountains , the Foothills 


THE MOUNTAINS 

Solemn young men, from four to six of them, in blue and 
green cloaks with white tunics and white stockings laced 
with blue. 

THE FOOTHILLS 

Gay young girls, from four to six of them, in green and 
violet draperies. 


The Flowers 


THE LILY 

Stately in her white robes, she carries one tall blossom. 
The other flowers are of all shades and colors, from six 
to twelve of them. 


The Jewels 



’ THE PEARL 

A girl in white robes covered with long 


The other jewels are distinguished 

from the flowers by the fact that they 

H are covered with brilliants, and wear 
|» 7 

r short draperies instead of crinkled or 

s- flowing ones. 


strings of pearls. 







Characters 


137 


The Books 

STORY-BOOK 

A girl dressed as a queen. She carries a wand. 

STUDY-BOOK 

A boy in academic cap and gown. 

Eight or ten characters from well-known books, such as 
King Arthur, Oliver Twist, the Snow Queen, Mowgli, Mas¬ 
ter Skylark, Joe from “Little Women,” Little Lord Faunt- 
leroy, etc., etc. 


Animals 


THE DOG 

Shaggy, and brown, a little boy, hidden in a conventional 
dog costume. 

Eight or ten animals such as the rabbit, the cat, the 
giraffe, the elephant, the fox, the cow, the horse, etc., etc. 



Playthings 


THE DOLLS 

A beautiful French doll and her escort. 

Eight or ten toys such as the baseball bat, the Teddy 











138 


The Magic Sea Shell 

Bear, the Kewpie, the Toy Elephant, the Toy Automobile 
and its Chauffeur, etc., etc. 

Parents 


MOTHER AND FATHER 

They are in the costume of the colonial period. 

Eight or ten children dressed as grown-ups of various 
periods in history. 

CHILDREN 

A flock of children in party clothes. 

ANGELS 

Five or six tall and graceful figures in white and silver 
robes, carrying trumpets. 

Five or six tiny children in white draperies. 


WORSHIPTHE NATIVITY 


Scene: A conventionalized grove. Two large pines 
at each side of the stage. Massed cedars at the 
sides, and, against the blue sky, the silhouettes of 
other fir trees at the back. In center stage, at the 
back, is a cradle from which comes a soft amber 
light. Over this bends Mary. Back of her stands 
Joseph. This tableau remains throughout the whole 
masque. At rise of curtain, the voices of the choir 
boys can be heard in the distance, singing u Silent 
Night, Holy Night”; from this they swing into “Oh, 
Come, All Ye Faithful,” and enter in two groups, 
one from each side, standing half on one side, half 
on the other, throughout the rest of the masque. As 
the shepherds come on slowly, they sing one verse 
of “Oh, Little Town of Bethlehem.” The shepherds 
kneel in tableau. 

THE LEADER OF THE SHEPHERDS 

I saw the hills across the dark 
All silently they lay, 

And only shadows of soft clouds 
Swept over and away. 

I saw the hills across the dark, 

And, oh, my heart was sad! 

The world was such a silent place, 

Too somber to be glad. 

139 


140 


The Magic Sea Shell 

But as I watched across the dark, 

I saw a new-born star. 

It shone as if all Heaven itself 
Had lit the world afar. 

And in my heart was joy unbound, 

And in my soul was peace, 

As light poured down until my sheep 
Each wore a golden fleece. 

I saw the angel hosts appear 
Transplendent, line on line. 

I saw them swinging through the sky 
To worship at His shrine. 

O little Child, I worship Thee 
And Mary, crowned with light. 

Oh, bless all shepherds on all hills 
Who pray to Thee to-night. 

(The choir sings the last jew bars of “Oh, Little 
Town of Bethlehem” as the shepherds half disappear 
among the trees at the side, where they sit in tableau 
through the rest of the masque.) 

(ds the choir sings the first verse of “We Three 
Kings of Orient Are,” the wise men enter slowly. 
They carry caskets of gold and strings of jewels. Also 
silken draperies on which the lights glow brilliantly. 
They kneel.) 

FIRST WISE MAN 

I would bring all the treasures of earth. I would 
bring diamonds. I would bring silks. I would bring 


Worship the Nativity 141 

precious ointments. I would bring incense. All that 
is filled with bright color to glow for You, all that is 
healing and cool to soothe You, all that is sweet 
smelling to perfume your dreams. 

SECOND WISE MAN 

I bring You gold, pure gold; but even gold so pure 
as this of mine is not worthy to encircle Your brow. 

THIRD WISE MAN 

I bring You frankincense; but what perfume so 
precious that it may send its fragrance up before You! 

FIRST WISE MAN 

I bring You myrrh; but what ointment so rare that 
it may heal the sorrowing of Your great heart. 

(They sing verse five of “We Three Kings of Orient 
Are,” and the choir boys join in the chorus. As they 
sing the last chorus, a blinding white light plays over 
the cradle and the whole stage. The wise men kneel 
in awe. Slowly the light fades again to an amber glow, 
and the three wise men move into the background, 
carrying their precious gifts.) 

(There is a sudden rush of music. The six stars 
whirl across the stage. They kneel in a semi-circle. 
Slowly the moon sweeps among them, her head held 
high, majestic, beautiful. She stands before the shrine. 
She speaks .) 

MOON 

Silver magic on the fern-fronds, 

Silver magic on the lilies, 

Silver magic on Thy brow, 

Little Jesus, through the night. 


142 


The Magic Sea Shell 

Holy calm across the heavens, 

Holy calm across the deserts; 

Holy calm across Thy brow, 

Little Jesus, pure and white. 

Soft and cool across the ocean, 

Soft and cool across the forest, 

Soft and cool across Thy brow, 

Little Jesus, shines my light. 

{There is suddenly a change of light from white 
to scarlet. The music becomes bold and strident r 
Leaping high into the air from the wings, the sun 
now stands in the center, swinging his torch above his 
head. He chases the stars away, one by one. The 
moon leaves, slowly, lingeringly.') 

THE SUN 

I am that bold adventurer, the Sun. 

When I appear, the night is quickly done. 

I light the world, each half in turn, each day; 

When they see me the pale stars run away. 

With flaming torch across the sky I glow, 

Flooding with light the hills and plains below. 

I light the world, and yet, O Prince of Light, 

You are my Light—I kneel and praise to-night. 

{In beauty and in majesty, the star of bethlehem 
sweeps in. She is followed by the other stars. The 
moon joins the sun. They both kneel as the choir 
sings one verse of “Silent Night, Holy Night.”) 

THE MOON 

{Kneeling with head bowed toward star of bethle¬ 
hem) I praise thee, O Star of Bethlehem. 


Worship the Nativity 143 

THE STAR OF BETHLEHEM 

(Kneeling before the shrine) 

I praise Thee, O Star of the World. 

(The choir sings another verse of “Silent Night, 
Holy Night,” as the sun, moon, star of bethlehem 
and stars take their places among the trees at the side.) 

(Quick music as the clouds float in, whirling slowly 
with their gray veils held out. They kneel before the 
Shrine and one of them speaks.) 

THE CLOUD 

{First whirling once or twice) 

The playmate of the stars am I, 

The friend of light and rain. 

I catch the dew-drops from the grass 
And pour them down again. 

I know where sunset stores her gold, 

I know where spring abides, 

I know the secrets of the snow, 

I know where lightning hides. 

Come forth, O winds of all the world. 

Come drive me from the dawn, 

So all the little boys will shout 
“Ho, ho! The clouds have gone!” 

(The four winds rush in, north and east hand in 
hand from one side of the stage, south and west from 
the other. As the clouds see them coming they run 
hither and thither helplessly. Finally they cower in 
a heap at center stage, while the four winds hand in 


144 


The Magic Sea Shell 

hand dance about them in a circle. The winds then 
turn and kneel before the Shrine. So, likewise, do 
the clouds.) 

NORTH WIND 

To Thy Shrine, O Child of Heaven, I bring the pure 
cold worship of the Northlands. 

EAST WIND 

To Thy Shrine, O Child of Heaven, I bring the earth - 
soaked breath of foggy days. 

SOUTH WIND 

To Thy Shrine, O Child of Heaven, I bring the 
warmth of calm southern noons. 

WEST WIND 

To Thy Shrine, O Child of Heaven, I bring the rich 
fragrance of ripening fruits. 

(The clouds rise slowly and drift back among the 
trees, followed briskly by the winds.) 

(rain comes across the stage in a swirl of music, 
soft at first, then bursting in a loud crescendo, as she 
sways, dips, leaps, circles and finally bows low before 
the Shrine .) 

RAIN 

Soft! Soft! Feel my fingers, 

Touching lightly on your face. 

Rap! Rap! Hear my knuckles 
Tapping briskly on the pane! 

Hiss! Hiss! Hear me jumping 
In the fountain and the pool! 

Pound! Pound! Hear me chasing 
With the mountain cataract. 


Worship the Nativity 145 

Gentle I can be, and cruel, 

But before You, I am humble. 

All about You like clear diamonds, 

I shall spread a sparkling curtain, 

Shining, shimmering, I’ll hide You. 

Dripping through the night, I’ll lull You 
With a lullaby of waters! 

(rain sweeps back among the trees.) 

(There are a jew sharp trumpet notes. With one 
huge leap, light is in the center of the stage. After 
him, whirling, comes fire. She sinks at his feet.) 

LIGHT 

My Prince, before Thee I am as pale as the Moon 
before the dawn. To Thee, the Light of all the world, 
I bow in humbleness. 


FIRE 

I bring to Thy Shrine the incense from the altars 
of far countries and the homely warmth of peasants’ 
hearth stones. 

(There is music as they form a tableau at one side.) 

(The Choir chants Psalm 121, “I will lift up mine 
eyes unto the hills from whence cometh my help, etc.” 
as the mountains march on solemnly and kneel before 
the Shrine. The verses of the following speech are 
read by two of the boys representing the mountains.) 

THE MOUNTAINS 

( 1 .) In the strength of my peaks is Thy presence, 
0 Lord. Over the stillness of my clear snows Thine 
eyes look in deep wisdom. From the heart of my 


146 


The Magic Sea Shell 

towering forests, the sound of great waters lifts to 
Thee its song of eternal praise. 

(2.) Where the clouds rest upon my brow, O Lord, 
Thy name is graven; Thy image sits beneath the 
shadow of my crags. The proud eagle folds his wings 
in peace before Thee. The fierce mountain lion pauses, 
and in the darkness of my caves a small voice whis¬ 
pers, a He is the Lord God, my God, the God of still 
high places.” 

(The foothills dance in gayly and kneel in front 
of the mountains. Two of them speak.) 

THE FOOTHILLS 

(1.) Wreathed in spring, or quiet beneath the snow, 
or rich with autumn gold, the hills dance before Thy 
Shrine. 

(2.) We lift our heads even over the great moun¬ 
tains; we raise our eyes to Thee, and praise Thy Name. 

(Taking the mountains by the hand, the foothills 
lead them back among the trees.) 

(The flowers enter in little groups, talking ex¬ 
citedly. They stand near the front of the stage as if 
uncertain as to what they shoidd do next. They are 
bearing a multi-colored chain of flowers of all seasons 
and colors.) 

VIOLET 

I think it should be Rose. Rose should present the 
chain. She is the queen of the flowers. 

ROSE 

Alas, I am not worthy. My cheeks are stained with 


Worship the Nativity 147 

the bloom of pride. You, Violet, you approach the 
Shrine. You are shy and quiet and pure. 

VIOLET 

{Hanging her head) I, too, am unworthy. 

POPPY 

Forget-me-not! Where is Forget-me-not? 

ROSE 

She has run away. She is hiding among the trees. 

POPPY 

Who of all of us is worthy to approach the Shrine? 

ROSE 

(Sadly) I do not know. 

VIOLET 

(Pointing out into the shadows) Look! 

ALL THE FLOWERS 

What is it? 

VIOLET 

Lily! She, the pure, the stately, the graceful. She 
is worthy! 

ALL TILE FLOWERS 

Yes! Lily! Lily! Lily! 

(They form two lines, between them lily walks 
slowly. As she reaches the end of the line which is 
near the center stage, she takes the hands of violet 
and rose.) 

LILY 

All are unworthy; but does He forbid us to come 
to Him? 

(The choir sings two verses of u Those Eternal 


148 


The Magic Sea Shell 

Bowers, Man hath never trod ” etc . Led by lily, 
advancing in a line the flowers bear the chain. They 
kneel with it before the Shrine, then wind it among 
the trees and leave it hanging there, lily stands alone 
before the Shrine.) 

We have come from meadow spaces, 

We have come from forest deep, 

We have come to weave You garlands 
Waft rich perfumes while You sleep. 

All the flowers of the woodland, 

All the ferns of mossy steep, 

; 

Showering rainbow petals on You 
Little Jesus, while You sleep. 

Quiet flowers that hide in shadows, 

Flaming blooms that toss and leap 

Stretch a rainbow of rich beauty 
Round the cradle of Your sleep. 

(She joins the other flowers, standing now among 
the trees.) 

(There is quick music. The jewels enter, bearing 
a chain of countless flashing gems. They march, weav¬ 
ing in and out. Finally, they form a tableau, grouped 
in center stage. There is a pause as the pearl walks 
to the center. She stands there a moment, as the lights 
play among the jewels. Then she leads them to the 
Shrine, where they weave their chain of brilliants over 
and around the chain of flowers. The back of the 
stage now looks like a gigantic series of Christmas 


Worship the Nativity 149 



“it came upon a midnight clear” 

































































\ 


Worship the Nativity 151 

trees, decorated with human dolls and gay streamers .) 

(The books now march on, led pompously by story¬ 
book and study-book, hand in hand.) 

STORY-BOOK 

Oh, I am very fine, they say 
To pass away a rainy day. 

I’m Story-Book and in my pages 
Are gay romances of all ages. 

In me fine ladies sigh and weep, 

Brave princes fight, sly villains creep, 

Plumed knights ride out on splendid quests, 
Detectives plan and make arrests, 

Ships sail on treasure-laden seas. 

Oh, I’ve adventures, mysteries, 

Plots, counterplots, disguise, alarms; 

Unlimited my hidden charms; 

From man’s great dreams my stories spring, 
Then back to man fresh dreams I bring. 

STUDY-BOOK 

I’m not so pleasant, I suppose. 

They say I’m dull, though goodness knows, 
What good would stories be, indeed, 

If, first, I didn’t teach to read? 

What good a purse and coins from dad, 

If, first, I didn’t teach to add? 

What good fine letter papers white 
If first I didn’t teach to write? 

Who wants, indeed, to be a fool? 

Well then!—take me—and go to school! 


152 


The Magic Sea Shell 

(The books quite demurely pass, bowing stiffly 
before the Shrine, and take their places among the 
trees.') 

(To a grotesque march, the animals enter. They 
look at each other suspiciously. They growl. They 
shake their heads ferociously. They even quarrel a 
trifle. Suddenly the dog runs out on his hind paws, 
one forepaw is raised. He barks loudly to gain the 
attention of the others.) 

THE DOG 

Hush, hush! Why are you quarreling? You 
should be ashamed of yourselves. 

THE FOX 

Lion says that he is King of Beasts. That is silly. 
Look at him! King! 


RABBIT 

(In a squeaky voice) Yes! Yes! How silly. / 
am the King of the Beasts. 

GIRAFFE 

Ho! Ho! Ho! 

ALL THE ANIMALS 

Ho! Ho! Ho! 

RABBIT 

Nevertheless, I am King. 

THE, DOG 

(Loudly and sternly) Aren’t you all ashamed? 
Fighting this way when you have come so far and on 
such a holy purpose? 


Worship the Nativity 153 

THE ELEPHANT 

It reminds me of Noah’s Ark. 

THE RABBIT 

Yes! Yes! But where is Noah? 

THE FOX 

Rabbit, you are silly and foolish! 

THE RABBIT 

But I am the King of the Animals! 

THE LION 

{Roaring) I! I! I am King! 

{They all shout and scramble. The dog attempts 
vainly to calm them when, softly at first, then more 
confidently, the choir sings one verse of “Jesus, Tender 
Shepherd, Lead Us ” The animals become quiet, and 
gently go toward the Shrine, where they lie down in 
various attitudes about it. There they remain in 
tableau throughout the rest of the masque.) 

{As the animals lie in attitudes of praise about the 
Shrine, a deep green curtain is drawn across it, con¬ 
cealing only that one group. If it is possible to arrange 
a screen of fir trees, it will make a more effective 
picture, mother and father then enter, chatting 
with each other. The stage now looks like a grove 
of Christmas Trees. The characters, some of them, 
can be posed on platforms and ladders so that they 
seem sitting on or hanging from the trees.) 

FATHER 

{Rubbing his hands) Well! Well! Is everything 
ready? The guests will soon arrive. 


154 


The Magic Sea Shell 

MOTHER 

(.Looking about nervously) The toys haven’t come 
yet. Where do you suppose they are? We really 
can’t go on without the toys. 

FATHER 

Where are the children? 

MOTHER 

They’re in the nursery waiting until it’s tree-time. 
Such a noise as they’re making! 

FATHER 

Do you remember our first Christmas tree? It was 
for Emily. She was nearly a year old. 

MOTHER 

(.Kissing him ) Of course I remember. 

(There is the sound of knocking. To the strains 
of a minuet , the guests come in. They are greeted by 
father and mother before whom they curtsy.) 

MOTHER 

The toys for the tree haven’t arrived yet. Isn’t 
that a pity? We are so worried. 

FATHER 

{Going to the side of the stage) Aha! Here they 
are. 

(Two attendants carry in each toy wrapped in paper. 
The guests have now grouped themselves at the sides. 
father and mother tear off the paper. As each toy 
jumps out, there is gay music and the toy dances. 
Then father or mother helps it up a step-ladder to 
its place on one of the trees. The last toy is in place.) 


Worship the Nativity 155 

FATHER 

C Shouting) All ready, children! 

(With cries oj joy the children rush on.) 

CHILDREN 

Lights! Lights! Lights! 

{All among the trees, bidbs of different colors glow 
now.) 

FATHER 

Let s all sit down. {They do so.) Shall we sing a 
carol ? 

CHILDREN 

Yes! Yes! Yes! 

{It is dark now except for the lights on the trees. 
The guests, father, mother and the children now 
sing, “Hark, the Herald Angels Sing.” As they finish 
the first verse a white light begins to shine on the 
stage. It becomes brighter and brighter. The choir 
joins in the singing. The others stand silently in awe. 
The lights in-the trees go out. Only the white radiance 
remains. As the choir finishes, there is silence, then 
a flourish of trumpets and the curtains before the 
Shrine part. Lights of all colors play on the tableau. 
Back of the Shrine stand the angels, at the sides the 
cherubim. As the sound of the trumpet dies, the choir 
breaks joyfully into “It Came upon a Midnight Clear,” 
raising their hands in worship toward the Shrine. All 
join in the singing. The lights on the trees shine again. 
The Shrine seems a center of miraculous brightness.) 

FINIS 


a6S6 109 


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